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| The village suffering is in full swing. Analysis “Rural suffering is in full swing” Nekrasov |
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The poem “The village suffering is in full swing” was written in 1862 and published in Sovremennik No. 4 for 1863. It was repeatedly set to music. Literary direction and genreThe poem belongs to the genre of philosophical lyrics. These are thoughts about the difficult lot of the Russian peasant woman. Her work did not become easier after the abolition of serfdom. Nekrasov knew firsthand about difficult fate women. His mother was unhappy in her marriage. The daughter of a wealthy Ukrainian landowner, who received a good education, she played the piano and had a beautiful voice, she was gentle and kind. Nekrasov’s mother suffered a lot from her husband, a rude man. She raised her many children tenderly and instilled in everyone a love of literature and people, regardless of their social status. A realistic description of a peasant woman is traditional and typical. Her work is endless, hard and meaningless, it is associated with pain and inconvenience. Her life is meaningless. Theme, main idea and compositionThe theme of the poem is the fate of a Russian woman, whom Nekrasov calls the mother of the entire Russian tribe, thereby elevating her image to an almost divine one. The main idea: the poem is imbued with sympathy for the unfortunate mother, for her poor child and for the entire Russian people, who, like his mother, will endure everything. But is it worth it to humble yourself and endure? The poem consists of 9 stanzas. The first 2 stanzas are an appeal to female share and to the Russian woman herself. The next 2 stanzas describe the conditions of hard female labor. They are similar to biblical punishments: unbearable heat, stinging insects and backbreaking work. Stanzas 5 and 6 increase the tension. Even a cut leg is not a reason to stop working. Only the cry of a child makes a woman stop. Stanza 7 – the lyrical hero’s address to his mother. She seems to have forgotten about her maternal responsibilities, so the lyrical hero bitterly calls on her to rock the child and sing to him about patience. The penultimate stanza is about how a peasant woman drinks bitter kvass with sweat and tears, and the last one is a gentle question to the “sweetheart”, an indirect call to change a hopeless situation. Lyrical hero sympathizes with his people. Paths and imagesThe first line of the poem is the time, the place of action, and the action itself. This is expressed in a metaphor: village suffering is in full swing. The word strada (hard seasonal work) immediately refers to the etymologically related word suffering. The poem begins with the fact that suffering is synonymous with the lot of a Russian woman. The severity of this share is described using metaphors: you wither before time, the poor woman is exhausted, tears and sweat will go into the jug and will be drunk. The last metaphor is close to a symbol. A woman is filled with bitterness and salt from tears and sweat, and even does it voluntarily, involuntarily mixing it with the traditional refreshing drink - sour kvass. Strong and unpleasant tastes are also part of her torment. The woman is described using epithets: long-suffering mother, poor woman, little leg naked, greedily brings his lips up scorched, tears salty. Epithets characterize nature hostile to humans: heat intolerable, plain treeless, width celestial, Sun mercilessly scorches, roe deer heavy, jug, plugged dirty a rag. Diminutive suffixes bring speech closer to song: roe deer, little leg, share, kerchiefs, rag, kvass, strip. The seventh stanza is the culmination of the epic plot of the poem. The woman stands over the child in stupefaction. This is her true state, accompanying eternal patience (it’s not for nothing that Nekrasov rhymed these words). Double tautology in the same stanza ( patiently sing the song of eternal patience) draws attention to the main thing: thanks to this patience, the Russian tribe all-enduring, and his mother long-suffering(epithets). Meter and rhymeThe poem is written in dactyl. In seven tercets, two lines of dactyl tetrameter alternate with a line of trimeter. In the last two quatrains, tetrameter and trimeter dactyl also alternate. This varied meter brings the poem closer to a folk lament. This feeling is enhanced by the unusual rhyme. The rhyme pattern in the tercets is as follows: A’A’b B’V’b G’G’d E’E’d Zh’Zh’z I’I’z K’K’z. The last two quatrains are connected by cross rhyme. This is a conclusion that requires rhythmic clarity. Dactylic rhyme alternates with masculine rhyme, which is typical for folk songs.
Share you! - Russian women's share! Hardly any more difficult to find. No wonder you wither before your time, All-bearing Russian tribe Long-suffering mother! The heat is unbearable: the plain is treeless, Fields, mowing and the expanse of heaven - The sun is beating down mercilessly. The poor woman is exhausted, A column of insects sways above her, It stings, tickles, buzzes! Lifting a heavy roe deer, The woman cut her bare leg - There is no time to stop the bleeding! A cry is heard from the neighboring strip, Baba there - the kerchiefs are disheveled - We need to rock the baby! Why did you stand over him in stupor? Sing him a song about eternal patience, Sing, patient mother!.. Are there tears, is there sweat above her eyelashes, Really, it’s hard to say. In this jug, plugged with a dirty rag, They will sink - it doesn’t matter! Here she is with her singed lips Greedily brings it to the edges... Are salty tears tasty, dear? Half and half sour kvass?.. The affirmation of another “I” required Nekrasov in some cases, developed narrative plots(“Troika”, “Wedding”, “For the Fortune Telling Bride”, “Schoolboy”); in others - dramatic scenes in which “both participants are given both visually and with “replicas”, and in a complex emotional conflict”(G. A. Gukovsky) (“Am I driving down a dark street at night...”, “I visited your cemetery...”, “ Hard year- I was broken by illness..."); thirdly, self-statements of heroes in the genre of “role-playing” lyrics (“Drunkard”, “Gardener”, “Storm”, “Duma”, “Katerina”, “Kalistrat”, etc.) According to Dostoevsky, Nekrasov “saw not only an image humiliated by slavery, a brutal likeness, but was able, by the power of his love, to comprehend almost unconsciously the beauty folk, and his strength, and his intelligence, and his suffering meekness..." At a certain stage creative development Nekrasov has a desire to write not only about the people, but also for the people, to create such an image of Russian life and Russian consciousness that would be recognized and perceived by the very bearers of this consciousness and this life. In the words of Merezhkovsky, Nekrasov, the only one of all Russian poets, wanted to “make art popular,” to return to it its “conciliar” nature. (the meaning is that they consider themselves unheard people) Nekrasov certainly became the creator of “a fundamentally new poetic system, opening up unprecedented democratic values for poetry” and “seeking direct, lightning contact with the reader.” Among " ready-made languages”, to which Nekrasov’s muse resorted, researchers call: Russian folklore, centuries-old poetic tradition, modern Nekrasov prose and Orthodox symbols . (the goal is to achieve the effect of direct entry into life, influencing the will of the reader). Folklore: An original experience in constructing a new verse based on popular basis is Nekrasov's poem " Green Noise"(1862 -1863). The poet uses motives and images of a game song of Ukrainian girls, as well as a prose commentary on it, compiled by prof. M.A. Maksimovich. The poem organically included such elements of oral folk art as stable folklore epithets (“fierce thought”, “shaggy winter”, “white birch tree”); characteristic grammatical forms (“playfully”, “hostess”, “self-friend”, “goes and buzzes”); sayings (“it won’t muddy the water”, “tap on her tongue”); melodious pickups of the second half of the verse (“They make noise in a new way, / In a new, spring way...”). Moreover, Nekrasov abandons the traditional rhyme for literary verse of the 19th century. The internal structure of the poem is provided by rhythmic periods, which are formed by alternating a number of dactylic endings with masculine clauses: The alder bushes will shake, Will raise flower dust, Like a cloud, everything is green, Both air and water! (II, 142) However, in terms of genre, “Green Noise” gravitates more towards the genre of literary love ballad (cf.: N.M. Karamzin “Raisa”; A.S. Pushkin “Black Shawl”) with its dramatic plot built on the play of passions ( deception - jealousy - thirst for revenge), dynamism and novelism, a sharp confrontation between life and death in the world and soul of the hero (“fierce thought”, “shaggy winter” - “Green Noise, Spring Noise”), the intervention of mysterious forces with the fate of the characters. The Green Noise is going on and on, Green Noise, spring noise! Playfully, disperses Suddenly a riding wind: The alder bushes will shake, Will raise flower dust, Like a cloud: everything is green, Both air and water! The Green Noise goes on and on, Green Noise, spring noise! My hostess is modest Natalya Patrikeevna, It won't muddy the water! Yes, something bad happened to her How I spent the summer in St. Petersburg... She said it herself, stupid Tick her tongue! In the hut there is a friend with a liar Winter has locked us in My eyes are harsh The wife looks and is silent. I’m silent... but my thoughts are fierce Gives no rest: Kill... so sorry for my heart! There is no strength to endure! And here the winter is shaggy Roars day and night: "Kill, kill, traitor! Get rid of the villain! Otherwise you'll be lost for the rest of your life, Not during the day, not during the long night You won't find peace. Shameless in your eyes They'll spit on you!.." To the song of a winter blizzard The fierce thought grew stronger - I have a sharp knife... Yes, suddenly spring has crept up... The Green Noise goes on and on, Green Noise, spring noise! Like drenched in milk, They're standing cherry orchards, They make a quiet noise; Warmed by the warm sun, Happy people making noise Pine forests. And next to it there is new greenery They babble a new song And the pale-leaved linden, And a white birch tree With a green braid! A small reed makes noise, The tall maple tree is noisy... They make a new noise In a new, spring way... The Green Noise goes on and on. Green Noise, spring noise! The fierce thought weakens, The knife falls from my hands, And I still hear the song One - both forest and meadow: "Love as long as you love, Be patient as long as you can Goodbye while it's goodbye And God will be your judge!” The all-encompassing, all-encompassing power of life also determines the almost universal chronotope of the poem, which includes big and small, north and south, air and water, sky and earth; and fundamentally not a ballad ending - “The knife falls out of your hands” (in the ballad, the struggle between life and death ends with the victory of the latter). Appeal to Orthodox imagery- the most radical example of using “old” language to express “new” content. Nekrasov turns to the liturgical (Church Slavonic) and biblical language in search of “the strongest, most influential word” (O. A. Sedakova). Most often, he uses commonly understood Slavic words (love, passion, sacrifice, path, slave, sower, light, darkness), as well as word-formation models of the Church Slavonic language, which allow him to create complex words covered with an aura of “holiness” and “churchliness.” (all-enduring). Liturgical vocabulary becomes the language in which Nekrasov speaks about the “great cause” of the struggle for the good of the People, the Motherland, the Mother. As example how the “church” word enters into Nekrasov’s poetry, we present an excerpt from “Songs to Eremushka” (1859), poems, which gained enormous popularity among revolutionary-minded youth of the 1860s. The call to “love”, in the biblical context suggesting the continuation of “the Lord your God<…>and your neighbor as yourself" (Matthew 22:37 - 39), Nekrasov is aimed at something else - you need to love “Brotherhood, Equality, Freedom”: Love them! To serve Give yourself to them to the end! There is no better destination There is no crown more radiant. This and similar poems by Nekrasov, calling for the struggle for the happiness of the people, praising people's intercessors, denouncing the enemies of the people, brought him the glory of a poet-citizen, and his poetry the epithet “civil”. However, Nekrasov himself, throughout his life, acutely experienced the tragic duality between the “poet” and the “citizen,” which he expressed in a poem in 1876 with the aphoristic phrase: “Struggle prevented me from being a poet, / Songs prevented me from being a fighter.” The internal drama and disharmony, immersion in everyday life, and the severity of the form of Nekrasov’s verse evoked strong associations with prose among his contemporaries. Russian modernist poets of the early 20th century began to justify and resurrect Nekrasov as a poet. D. S. Merezhkovsky, V. V. Bryusov, A. A. Blok, N. S. Gumilyov, A. A. Akhmatova, Vyach. Ivanov saw in Nekrasov’s poetry not only revolutionary agitation, but also a kind of metaphysics, “power over the chosen image,” “epic monumentality,” originality and strength of “poetic technique.” Proseization was interpreted not as a vice, but as a search for a new poetic word, new form the existence of poetry, which had to be created, because “art is alive in perception.” The process of distancing from the existing system of poetic cliches began with its parodic development. In the second half of the 1840s, numerous poetic feuilletons, vaudevilles, and parodies appeared in Nekrasov’s work, replete with easily recognizable quotes from Lermontov, Yazykov, Zhukovsky, Benediktov, and commonly used cliches of traditional poetry: And it’s boring, and sad, and there’s no one to fool at cards. In a moment of pocket adversity... Wife?.. but what is the use of deceiving your wife? After all, you’ll give it to her for expenses! (I, 409) Achieving the effect of defamiliarization, Nekrasov plays with traditional genres and meters: he turns a ballad into a satire or a poem into a feuilleton, uses, for example, the size of “The Prisoner of Chillon” by V. A. Zhukovsky for the “modern story” “The Court” (1867), which describes the practice of using new press law. Nekrasov, like Fet, feels the exhaustion of the era of “harmonic precision”. But if Fet takes a “step up” into the field of music, then Nekrasov makes a “breakthrough downwards”, introducing vernacular and everyday life into the sphere of poetry. In a whole series of masterpieces of Nekrasov’s lyric poetry, an aesthetic miracle took place: the transformation of prosaic and human words into poetic words, possessing ambiguity, increased associativity, and symbolism. The 1854 poem “In the Village” begins with a confidential and plaintive question addressed to an imaginary interlocutor-reader: “Really, isn’t there a crow club / Near our parish today? / And today... well, it’s just a disaster!” Lively, intimate, dramatized intonation became distinctive feature Nekrasov's lyrics and it was after him that it took a strong place in Russian poetry. Along with poems constructed according to the laws of high poetry, Nekrasov actually appeared poems that “can be read like a newspaper”, which were on the border of epic and lyric poetry: “About the Weather”, “Newspaper”, “Ballet”, “Financial Considerations”, “ Songs about free speech" and others. According to S. A. Andreevsky, "Nekrasov elevated the poetic feuilleton to the significance of a major literary work" His “Wretched and Decorated” and “Reflections at the Front Entrance” thundered throughout Russia, spreading across all stages and literary evenings. The modern reader sometimes does not understand the topicality of Nekrasov’s feuilletons, but one cannot help but pay tribute to that exceptionally accurate reaction to an important shift in cultural life era that the poet demonstrated. (I'm not sure if this ticket requires poems, but I'm including it) Since 1855 years until the end of his life, in addition to lyrical and satirical poems, Nekrasov actively created poems. They realize the epic side of the poet’s talent, in early years embodied in his prose. The evolution of Nekrasov’s “epic consciousness” becomes obvious if we compare his first poems “Sasha” and “V. G. Belinsky”, created in 1855, and the epic poem “Who Lives Well in Rus'”, work on which went on in 1863 - 1877. From the poem of an individual hero, Nekrasov comes to a poem whose hero becomes the “people's sea,” which absorbs hundreds of diverse individual voices; from localized space to a fundamentally open “poem of the road”; from the problems of a certain historical moment and a certain social layer - to universal generalizations concerning the destinies of all of Russia. Poem "Silence" was written by Nekrasov in 1856 - 1857 after the poet returned to his homeland. Crimean War and his stay abroad forced Nekrasov to see Russia in a new way and in general: All the rye is all around, like a living steppe, No castles, no seas, no mountains... Thank you, dear side, For your healing space! (IV, 51) Impressed by this poem by Ap. Grigoriev called Nekrasov “a great poet of his native soil.” Indeed, there is both an epic event (the Crimean War), uniting the people for a heroic feat, and complex imagery, going back to ancient Russian literature And folk song, And perfect image Russian national landscape, and key concepts of national thinking: space, path, temple of God, troika. But the mystery of Russia has not been solved. Silence, as N.N. Skatov notes, “is both a question to the people and an answer about the people: the exact historical answer of a poet who rushed to the people and heard nothing there.” The lyrical hero remains only humility before the people's faith, before the age-old silence, consonant with listening to Turgenev's Lavretsky (novel " Noble Nest) “during the quiet life that surrounded him” in his native estate. The poem “Silence” is on a par with such poems by Nekrasov as “Vlas” (1855), “Hearing the horrors of war...” (1855 - 1856), “There is noise in the capitals, the flowers are thundering...” (1858), dedicated to understanding the Russian mentality, Russian religiosity, Russian destiny. Nekrasov’s next step in the development of epic space was “Peddlers” (1861), which opened the cycle of his folk poems. The generalized and mysteriously silent image of Russia is being replaced by specific destinies, characters, and voices of people from among the people. The heroes of the poem: the peddlers “old Tikhonych” and his young assistant Vanya, Vanya’s fiancée Katerinushka, are almost devoid of heroism, but psychologically and realistically reliable. Nekrasov’s next step in mastering the epic space was "Peddlers" (1861) who opened the cycle folk poems. The generalized and mysteriously silent image of Russia is being replaced by specific destinies, characters, and voices of people from among the people. The heroes of the poem: the peddlers “old Tikhonych” and his young assistant Vanya, Vanya’s fiancée Katerinushka, are almost devoid of heroism, but psychologically and realistically reliable. The poet finds a special subject for his folk poem - travel, “roads”, which allows, on the one hand, to see the post-reform era through the eyes of the peasants. Russia, and on the other hand, to actualize archetypal meanings path image as paths of life. “The plot of the road” will be widely used by Nekrasov in the poem “Who lives well in Rus'.” Nekrasov’s undoubted creative discovery was the poem “Frost, Red Nose” (1863), the epic beginning of which was manifested not so much in the breadth of its coverage of folk life, but in its striving for its essential depths. (The binary oppositions inherent in mythological thinking are also present in the spatial organization of the poem. The center of the peasant world is the house, warmed by the warmth of the hearth, strong, stable, closed in itself. It is opposed by the outside world: forest, field, cemetery - the kingdom of Frost, cold, death. On the road, outside the house, in a winter snowdrift, the death of Proclus lies in wait. last way from the house to the cemetery, where he will be buried in the “frozen ground.” In the second part, Daria goes to the kingdom of death for the living (wood for the hearth), but finds herself in the power of Frost, dies, passes into another kingdom, thereby completing the horizontal path as a vertical one. Poem “Princess Trubetskoy” (1871) in my own way tall type close poem "Grandfather" (1870). However, if the Decembrist returning from exile is given the side of his convictions, then the princess, on the contrary, is immersed in her inner world- thoughts, memories, dreams. “At the center of the story,” writes A.I. Gruzdev, “is the heroine’s inner world, the process of forming her self-awareness and character.” In the poem “Princess M.N. Volkonskaya” (1872) Nekrasov, in order to avoid repeating the found plot scheme, chooses a different style of narration - a first-person story. The actual basis of the poem was the notes of Princess M. N. Volkonskaya, provided to Nekrasov by her son M. S. Volkonsky. The desire to create in readers the illusion of a “simple story” determined the orderliness of the plot (events develop sequentially, almost without interruption by extra-plot motives and without being complicated by side lines and branches) and a large proportion of narrative and everyday material. The path of the heroine’s internal evolution as a whole repeats the spiritual development of Princess Trubetskoy: inability to think, civic indifference at the beginning and the tragic choice of the path of civic duty at the end of the poem. Intense spiritual work was first caused by the main event of the era - the Decembrist uprising. However, in the case of Princess Volkonskaya, in the development of self-awareness, a big role is played not so much by the work of the mind, but by the demands of the heart. The study of folk life and interest in the epoch-making historical event were combined in Nekrasov’s most ambitious plan - the poem- epic “Who Lives Well in Rus'” (1863 - 1877). This work is rightfully considered the artistic result of Nekrasov’s many years of creative quest. According to the poet, he wanted to put into the epic “all the experience given<…>studying the people, all the information about them accumulated<…>“by word of mouth” for 20 years.” Folk life depicted in the poem in its “epic” state, through the prism of the grandiose historical event, the abolition of serfdom, which caused profound upheavals in the very foundations of national life. In Nekrasov’s poem, the central epic question is the question of finding ways to happiness, posed in the fairy-tale beginning of the poem with maximum breadth: In what year - calculate In what land - guess On the sidewalk Seven men came together... According to G.I. Uspensky, the men were supposed to find a happy man in a tavern. The happiness given to the drunk emphasized, on the one hand, the general social dysfunction of Nekrasov’s contemporary Russia, and on the other, it suggested the idea that happiness in general is given only to those who do not seek it, who do not interfere with the world order with their violent goal-setting activities. Characteristic feature epic is its objectivity. It does not allow for an individual point of view and a personal assessment of current events. The author expresses an impersonal, indisputable tradition, and not his subjective view of things. Nekrasov, in the poem “Who Lives Well in Rus',” like the creators of ancient epics, looks at life through the eyes of the people, although, as a poet of a fundamentally different era, he does not completely abandon the individual authorial principle. Composition The poem “Who Lives Well in Rus'” is built according to the laws of the classical epic. It consists of separate, relatively autonomous parts and chapters, interconnected by a fundamentally incomplete “plot of the road.” “Pillar road”, “wide road” is an image that is constantly present in the poem, connecting individual chapters, allowing a panorama of the entire Russian land to unfold: Wide path Furnished with birch trees, Stretches far Sandy and deaf. On the sides of the path There are gentle hills With fields, with hayfields, And more often with an inconvenient Abandoned land; They're standing old villages, There are new villages, By the rivers, by the ponds... IN Last year During his life, Nekrasov worked on the poem “Mother” (1877), which remained unfinished. Concept epic work, dedicated to the memory of his mother, arose from the poet in the mid-1850s, but: I have been among labor and laziness for many years He ran away with shameful cowardice Captivating, long-suffering shadow, For sacred memory... The hour has come!.. (IV, 251) In fact, the image of the mother in Nekrasov’s poetry was key and all-encompassing. The motherhood of Daria (“Frost, Red Nose”) or Matryona Timofeevna (“Who Lives Well in Rus'”) echoes the birthing power of the earth and the maternal, merciful cover of the Mother of God. “In Nekrasov’s poetry, the mother is the unconditional, absolute beginning of life, the embodied norm and ideal” (N. N. Skatov).
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