Topics of the purpose of the poet and poetry. The theme of the poet and poetry in Russian literature of the 19th century

The theme of the purpose of the poet and poetry is traditional for Russian literature. It can be traced in the works of Derzhavin, Kuchelbecker, Ryleev, Pushkin, Lermontov. The work of N.A. was no exception. Nekrasov: he wrote a lot about the purpose of the poet and poetry, their role in the life of society.

Kuchelbecker was the first to show the connection between poetry and prophecy in Russian poetry. Nekrasov offers a different view of the poet compared to his predecessors. The poet Nekrasov is a prophet who was “sent to people by the god of anger and sadness.” The calling of such a prophet is to walk with a punishing lyre in his hands, indignant and denouncing. He understands that people will not love such a poet: “He is haunted by blasphemies: he catches the sounds of approval not in the sweet murmur of praise, but in wild cries of anger.” But Nekrasov does not change his position: “A son cannot look calmly at the grief of his dear mother.” This position is that of a poet-citizen.

This position is most clearly shown in the poem “The Poet and the Citizen” (1856), written in the form of a dialogue. In it, Nekrasov argues with those who consider poetry to be an elegant art, alien to the earthly suffering of the people. The main idea that Nekrasov affirms in this dispute sounds like a slogan, like a call: “You may not be a poet, but you must be a citizen.” The same theme is repeated in the poem “Elegy,” which directly begins with the lines:

Let changing fashion tell us,

What an old theme is the suffering of the people

And that poetry should forget her,

Don’t believe it, young men, she doesn’t age.

In the poem “To the Sowers,” Nekrasov calls for sowing “reasonable, good, eternal,” because these seeds of enlightenment will certainly bear fruit, for which “the Russian people will thank you from the bottom of their hearts.”

In Nekrasov’s works, the image of the Muse, which inspired his work, is very often found (“Muse”, “Yesterday, about six o’clock”, “Oh, Muse! I’m at the door of the coffin”, etc.). Nekrasov’s muse is not a beautiful woman, a goddess, but a suffering peasant woman:

Yesterday, around six o'clock

I went to Sennaya.

There they beat a woman with a whip,

A young peasant woman.

Not a word from her chest

Having forever linked his destiny with poetry, Pushkin from an early age thought about the purpose of a poet and the role of his work in life. Even at the age of fifteen, Pushkin was sure that a true poet is not the one “who knows how to weave rhymes,” but the one whose poems “nourish a sound mind and teach us together.”

In the divine gift of mastery of the word A.S. I always drew internal energy and gained vitality.

The poet's connection with the world is stronger and more durable than that of ordinary people.

This deep immersion in life often contains the tragedy of being chosen - loneliness, because the poet himself, due to his unique abilities, may not be heard (for example, the article "Echo").

And you send the answer:

You don’t have any feedback... That’s it

And you, poet!

The theme of loneliness as a price for talent and inspiration is revealed in Pushkin’s poem “The Poet”, in which he defines the path of the chosen one of fate:

You are the king: live alone. On the road to freedom

Go where your free mind takes you,

Improving the fruits of your favorite thoughts,

Without demanding rewards for a noble deed.

Pushkin has always been an implacable enemy of low interests and the pursuit of momentary glory. “Leaving the noisy light, and muses, and windy fashion,” the true poet defends his right to inner freedom, which can be achieved by listening to the voice of conscience, truth, goodness:

You will hear the judgment of a fool and the laughter of a cold crowd,

But you remain firm, calm and gloomy.

The great poet reflected the feeling of inner emancipation, self-esteem, and proud self-affirmation in the final lines of the poem “I have erected a monument to myself not made by hands...”:

By the command of God, O muse, be obedient,

Without fear of insult, without demanding a crown,

Praise and slander were accepted indifferently

And don't challenge a fool.

Pushkin saw his civic duty as a poet in conveying words of truth to people, boldly and courageously exposing evil, fighting injustice, lies, and infringement of human rights. In the poems “The Poet”, “The Poet and the Crowd”, “To the Poet”, “I erected a monument to myself not made by hands...”, “Conversation between a bookseller and a poet” and many others, the poet appears before us as a man alone in a hostile environment, persecuted and persecuted, but always remaining independent, firm and unshakable in his rightness.

In a difficult time of spiritual crisis caused by the news of the tragic fate of his friends, after the massacre of the Decembrists, Pushkin writes the poem “The Prophet,” in which he gives biblical symbolism and motifs a pronounced political content. The external rebirth that occurs with the poet suspects enormous internal work, the reincarnation of the singer into a prophet, an incorruptible judge, a bold exposer of social evil. The sufferer’s own torment gives him the opportunity to know more than others, and therefore bear the burden of responsibility for what is happening in the world.

Pushkin argues that in order to become a real poet, you need a high goal and idea, in the name of which the poet creates, which revive and give meaning to what he sees and hears so sensitively and deeply:

Arise, prophet, and see and hear,

Be fulfilled by my will,

And, bypassing the seas and lands,

Burn the hearts of people with the verb.

The theme of the purpose of the poet and his poetry dominates Pushkin’s work. The motif of the high purpose of poetry, its special role in society can be heard in the poems “Prophet” (1826), “Poet” (1827), “To the Poet”, “Poet and the Crowd”, “Autumn” (1833), “I have erected a monument to myself not made by hands ..." (1836), "The Wanderer" (1835) as a lyrical meditation on the theme of the immortality of the poet in the world of death and decay, the relationship of the spiritual mission of Christ, who unites in himself a prophet, a clergyman and a king. In these poems, Pushkin expressed his views on the problem of the poet and poetry in society. These thoughts were most clearly reflected in the poem "The Wanderer".

In its concept it is close to such poems as “To the Poet” and “Echo”, in its figurative system and allegorical form it is close to “The Prophet”, and in general it is closely connected with Pushkin’s late lyrics, in which he affirmed the ideal freedom of the artist and his the right to independent creativity, emphasized the special place of the creator in society. The problem of a genius misunderstood by his contemporaries was often developed by the poet and found artistic embodiment in “The Wanderer.”

"The Wanderer" is based on the plot of the book "The Pilgrim's Progress" by the English writer John Bunyan (1628 - 1688). Pushkin deviated far from the original, retaining only the allegorical form of the narrative. His wanderer is a “spiritual worker,” in other words, a creator, a thinker. The theme of the poem is reflections on the fate of the creator. His fate is not easy; it is difficult for him to choose the “right path” in the world around him. Who will help the wanderer in choosing the path? Only he himself is able to make his choice. And he does it. This is the idea of ​​the poem.

Without a doubt, resorting to allegorical form and allegorical images, Pushkin reflected on his own fate and on the fate of the poet in general in Russia.

The significance of the topic raised required a high style, so the poet turns to archaic, solemn vocabulary: grief, bent, heavy, revered, behold, and so on. At the same time, the wanderer is flesh and blood of those people among whom he is destined to live. Therefore, the words of high style are clearly contrasted with colloquial words and colloquial expressions: exposed, with head down, wringing hands, screams, horror, if, with a wave of my hand, I collapse, from here, thorn, go, vilify, turn back by force.

Thus, in “The Wanderer” the poet continues to reflect on the fate of a genius, persecuted and misunderstood by his contemporaries (poems “Poet”, “To the Poet”, “Echo”). These reflections, despite the allegorical form chosen by Pushkin, are closely related to reality and testify to the creative maturity of the poet and the realistic orientation of his poetry.

The place of the poet in the modern world is defined by Pushkin in the poem “A Conversation between a Bookseller and a Poet” (1824).

The poet as the supreme judge of his works is an important motive in the theme of the purpose of the poet and his poetry. Pushkin talks about the freedom of poetic creativity, about the complex relationship between the poet and the authorities, with the people, with the mob. These thoughts are reflected in the poems “The Desert Sower of Freedom...” (1823), “The Poet and the Crowd” (1828), “To the Poet” (1830), “Echo” (1831).

Pushkin made his contribution to the development of the traditional theme of the poet and poetry in European literature. This important theme runs through all of his work. Already the first published poem, “To a Friend the Poet,” contained reflections on the purpose of the poet. According to young Pushkin, the gift of composing poetry is not given to every person:

Arist is not the poet who knows how to weave rhymes
And, creaking his feathers, he does not spare paper.
Good poetry is not so easy to write...

Addressing the topic of the poet and poetry at the very beginning of his creative career testifies to the seriousness of Pushkin’s approach to writing. From the first steps, he felt responsible for what he wanted to tell his readers. In the early poem "To Galich" Pushkin criticizes gloomy court poets, and in the poem "To My Aristarch" - "boring preachers." He himself dreams of the role of an exposer of vices, which he writes about in the ode “Liberty”:

I want to sing freedom to the world,
To defeat vice on the thrones...

Young Pushkin was confident that he could influence society and even the behavior of monarchs with his poems. Poems from this period are optimistic and full of energy. In the poem “To Chaadaev,” the poet passionately dreams of dedicating “the beautiful impulses of his soul” to his homeland and being useful to it. The “autocracy” of the kings is contrary to his freedom-loving nature; the author is confident that the unjust power will soon collapse. The poet expresses his hope for the speedy liberation of the peasants from “savage slavery” in the poem “Village.”

As he grew older, Pushkin's views on the role of the poet and poetry changed significantly. A new attitude towards poetry is heard in the poem “Conversation between a bookseller and a poet.” This poem is constructed in the form of a dialogue between a bookseller and a poet. The poet wants to create freely, to receive “fiery delight” from the process of creating poetry, but the seller cools his impulses, declaring: “... in this iron age / Without money there is no freedom.” Yes, the poet is a creator, but he is a living person. The poet agrees with the seller’s statement: “Inspiration is not for sale, / But you can sell the manuscript.” Poetry is hard work and can be seen as a means of livelihood. The problem is that a poet can create only in conditions of personal freedom. Only freedom of the soul gives a person independence.

In the poem “The Prophet,” Pushkin argues that society needs a poet-prophet, strong and wise, who could “burn the hearts of people with his words.” This poem sounds the motive of the poet's chosenness. A peaceful poet giving advice to the authorities is no longer needed. A fiery fighter is needed. The “six-winged seraph” miraculously changes the poet, turning his heart into “a coal blazing with fire” and his tongue into “the sting of a wise snake.” Having become a prophet, the poet must fulfill the will of God.

According to Pushkin, a poet must, like a priest, serve his art. Talent is from God. The poet should not pay attention to the judgments of the crowd, which does not understand the value of poetry. In the poem “The Poet,” Pushkin again points to God’s chosenness of a true poet, to whom the vanity and spiritual emptiness of the nobles of high society are alien. At first glance, the poet is the same as everyone else, but his ability to write poetry elevates him above the crowd.

The conversation about relations with the crowd continues in the poems “To the Poet” and “The Poet and the Crowd.” The “secular mob,” soulless people who understand only profit, tell the poet that his poems are of no use, the lines of his poetry are just wind. In irritation, the poet exclaims:

Go away - who cares
To the peaceful poet before you!
Feel free to turn to stone in depravity,
The voice of the lyre will not revive you!

Pushkin calls on poets “not to value people’s love.” The noise of praise will pass, but responsibility for your creativity will remain. The main thing is not to betray the ideals of freedom and beauty.

In the poem “I erected a monument to myself not made by hands...” Pushkin puts poetry at the highest level. He believes that art is higher than the power of kings, since talent and inspiration are given by God. The poet is sure that poetry is immortal, which means that his name will outlive him and will be preserved for centuries.

How to download a free essay? Click and save. And a link to this essay; The theme of the poet and poetry in the lyrics of A. S. Pushkin (Third version) already in your bookmarks.

• The theme of love in the lyrics of F. I. Tyutchev
  The talented Russian poet F. Tyutchev was a man who knew how to love deeply, passionately and devotedly. In Tyutchev’s understanding, love is a “fatal duel”: both the merging of souls and their confrontation. The poet's poems about love are full of drama: Oh, how murderously we love, How in the violent blindness of passions We most certainly destroy what is dear to our hearts! Tyutchev's poems contain a storm of feelings; he describes love in all its diversity of manifestations. The poet believed that true love
• The theme of the Motherland, patriotism and citizenship in the poetry of A. A. Akhmatova
  During Anna Akhmatova's life, the greatest wars in human history occurred. When the First World War began, her husband, N. Gumilyov, volunteered to go to the front. Akhmatova understood the horror of war, so her poetry in those years had an anti-war character. The poems "Consolation" and "Prayer" testify to this. Women could only pray: Give me the bitter years of illness, Choking, insomnia, fever, Take away both the child and the friend, And the mysterious gift of song - So I pray for your liturgy After so many painful
• Themes of love, art, religion in V. V. Mayakovsky’s poem “A Cloud in Pants”
  The reason for creating the poem “Cloud in Pants” was tragic personal experiences. Mayakovsky defined the meaning and main idea of ​​his work in the preface to the first edition of the book (1918). The poet, in his characteristic manner, expresses the essence of the content of the four parts of the poem as follows: “Down with your love!”, “Down with your art!”, “Down with your system!”, “Down with your religion!” In the first part of the poem, many themes of early Mayakovsky’s lyrics were embodied. This is the poet’s opposition to the psychology of “fat” people, and the lyrical
• Freedom-loving lyrics by A. S. Pushkin
  Pushkin happened to live in an era when, after the victory over Napoleon’s army, new, freedom-loving trends arose in Russia. Progressive people believed that there should be no slavery in the victorious country that freed the world from invaders. Pushkin warmly embraced the ideas of freedom while still at the Lyceum. Reading the works of French enlighteners of the 18th century and the works of Radishchev only strengthened the ideological positions of the future poet. Pushkin's lyceum poems were filled with the pathos of freedom. In the poem “Licinius,” the poet exclaims: “Rome grew with freedom, but with slavery
• The theme of the homeland in the poetry of F. I. Tyutchev
  The great Russian poet Fyodor Ivanovich Tyutchev left a rich creative heritage to his descendants. He lived in an era when Pushkin, Zhukovsky, Nekrasov, Tolstoy were creating. Contemporaries considered Tyutchev the smartest, most educated man of his time and called him a “real European.” From the age of eighteen, the poet lived and studied in Europe. Over his long life, Tyutchev witnessed many historical events in Russian and European history: the war with Napoleon, revolutions in Europe, the Polish uprising, the Crimean War, the abolition of serfdom in Russia and
• Motives of the tragic loneliness of V. V. Mayakovsky
  Vladimir Mayakovsky is often called the “tribune poet”. However, it is incorrect to reduce Mayakovsky’s poetry only to propaganda and oratorical poems, since it also contains intimate love confessions, tragedy, a feeling of sadness and philosophical thoughts about love. Behind the external rudeness of Mayakovsky’s lyrical hero hides a vulnerable and tender heart. From the very first poems ("From Fatigue", the cycle "I" and others), Mayakovsky sounds the motif of the tragic loneliness of man in the world: Earth! Let me heal your balding head with the rags of my lips in the stains of others
• The theme of the homeland in the poetry of S. Yesenin (Second version)
  The best part of Yesenin’s creativity is connected with the village. The homeland of Sergei Yesenin was the village of Konstantinovo, Ryazan province. The middle, the heart of Russia gave the world a wonderful poet. Ever-changing nature, the colorful local dialect of peasants, long-standing traditions, songs and fairy tales entered the consciousness of the future poet from the cradle. Yesenin stated: “My lyrics are alive with one great love, love for the homeland. The feeling of the homeland is the main thing in my work.” It was Yesenin who managed to create in Russian lyrics the image of a village at the end of the 19th century.

Popular Essays

Creative processing and advancement of technology testing in the 8th grade geography course

8th Grade Topic 1. 1. What kind of research should be done in educational mortgages? a) pre-vidnikovy; b) expeditionary; traditional; d) aerota

Particularly oriented approach in early history

The professional training of future history teachers is at the stage of conceptual rethinking. The place of social and humanitarian disciplines (including history) in the system

The entry of the environmental propaganda team

Members of the propaganda team take the stage to a musical accompaniment. Lesson 1. At least once in a lifetime, at home with nature

Favorite day of the week (Second option)

My favorite day of the week, oddly enough, is Thursday. On this day I go to the pool with my friends.

New works

Exam essays

The power of love in the artistic world of F. I. Tyutchev

Every poet and writer creates a special world in his work, within which he tries to figuratively rethink the problems that concern him and find them.

I love Ukraine Poznavalno-rozhdestvennyi zakhid Veducha: Hello, dear friends! Good health to you." Is it true that these phrases are miracles? The stinks bring us closer

The concept of introducing media education in Ukraine

CONCEPT OF PROMOTION OF MEDIA AWARENESS IN UKRAINE Praised by the resolution of the Presidium of the National Academy of Pedagogical Sciences of Ukraine on May 20, 2010, Protocol No. 1-7/6-150

1 Akhmatova wrote about Pasternak like this: He was rewarded with some kind of eternal childhood, That generosity and vigilance shone, And the whole earth was

Statistics

© The best essays of all times and peoples, which are included in all school and university curricula, essays on the works of Russian and foreign writers, the “cornerstone” masterpieces of Russian and world literature. All materials are available for downloading for free.

The theme of creativity (the purpose of the poet and poetry) attracted many poets. It also occupies a significant place in Pushkin’s lyrics. He speaks about the high purpose of poetry, its special role in more than one poem: “Prophet” (1826), “Poet” (1827), “I erected a monument to myself not made by hands...” (1836). Poetry is a difficult and responsible matter, Pushkin believes. And the poet differs from mere mortals in that he is given the ability to see, hear, understand what an ordinary person does not see, does not hear, does not understand. With his gift, the poet influences him; he is able to “burn the hearts of people with a verb.” However, the poet's talent is not only a gift, but also a heavy burden, a great responsibility. His influence on people is so great that the poet himself must be an example of civil behavior, showing steadfastness, intransigence to social injustice, and be a strict and demanding judge towards himself. True poetry, according to Pushkin, should be humane, life-affirming, and awaken good, humane feelings.

In the poems “The Desert Sower of Freedom...” (1823), “The Poet and the Crowd” (1828), “To the Poet” (1830), “Echo” (1831), “I have erected a monument to myself not made by hands...” (1836) Pushkin talks about the freedom of poetic creativity, about the complex relationship between the poet and the authorities, the poet and the people.

“The prophet is the ideal image of a true poet in his essence and highest calling__

All that everyday content that fills the hearts and minds of busy people, their whole world should become a dark desert for a true poet... He thirsts for spiritual satisfaction and drags towards it. Nothing more is required on his part: the hungry and thirsty will be satisfied...

The poet-prophet, with sophisticated attention, penetrated into the life of nature, higher and lower, contemplated and heard everything that happened, from the direct flight of angels to the winding course of reptiles, from the rotation of the heavens to the vegetation of plants. What next?.. Whoever has gained sight to see the beauty of the universe, feels the more painfully the ugliness of human reality. He will fight her. His action and weapon is the word of truth... But in order for the word of truth, emanating from the sting of wisdom, not only to sting, but to burn the hearts of people, it is necessary that this sting itself be kindled by the fire of love... In addition to the biblical image of the six-winged seraphim , basically taken from the Bible and the last action of this messenger of God:

And he cut my chest with a sword, and took out my trembling heart, and pushed a coal, blazing with fire, into the open chest.

The general tone of the poem also belongs to the Bible, imperturbably majestic, something unattainably sublime... The absence of subordinate clauses, relative pronouns and logical conjunctions with the inseparable dominance of the conjunction “and” (it is repeated twenty times in thirty verses)... brings Pushkin closer here. language to the biblical...” (V. Soloviev).

Question 20. Philosophical motives in the lyrics of A.S. Pushkin in the 1830s.

In the process of development of Pushkin’s lyricism, especially in the 1820s, a prominent place belongs to the changing relationships between its elements, which can be designated as “domestic” and “high” (or generally significant) lyricism.5

In introducing the concept of “home” lyrics, I rely on the terminology of Yu. N. Tynyanov. Characterizing the evolution of the author's image in Pushkin's messages, he spoke of the emergence of “individual home semantics” as a consequence of the specification of “author” and “addressees” (meaning “specific reticence that is inherent in actual fragments of relations between the writer and the addressee”).6 The word “ home”, thus denotes here the reality that stands behind the text of the lyric poem; this allowed me to use the specified formulation, realizing, however, that the concept I was introducing was somewhat different from that proposed by Yu. N. Tynyanov.

By “domestic” lyrics I mean poems that include disordered, empirical reality, the realities of everyday life and are deprived of that degree of generalization that removes their direct connection to the events of the poet’s private life and gives them a more general meaning. I’ll immediately make a reservation that within the confines of Pushkin’s lyrics, identifying “home” poems and motifs in their, so to speak, “pure” form is not always easy due to the special fate of Pushkin’s legacy in Russian culture. The life and personality of Pushkin turned out to be mythologized, and everything that relates to the poet’s private life practically acquired citizenship rights on a par with his work.

Pushkin’s romantic lyrics of the early 1820s are focused primarily on the image of the lyrical hero as an elegiac poet (I use the term “lyrical hero” in the sense defined by L. Ya. Ginzburg7). This, however, does not mean that the author’s image of Pushkin’s lyrics is unambiguous; nevertheless, the image of the elegiac poet becomes dominant, to which other modifications of the author’s “I” gravitate to one degree or another. Moreover, Pushkin’s romantic elegy, as has been repeatedly pointed out, draws into its orbit other lyrical genres, especially the epistle, including such unique forms as, for example, a poetic appeal to Ovid (“To Ovid”, 1821). Ovid's theme itself turns out to be closely related to the elegiac complex; the fate of the Roman poet is projected onto the life vicissitudes of the lyrical hero, oriented towards the poetically transformed biography of the author himself:

Ovid, I live near quiet shores,

Which exiled fatherly gods

You once brought and left your ashes.

The restructuring of Pushkin's lyrics in the mid-1820s is manifested, in particular, in a sharp change in the ratio of “home” and “high” lyrics as elements of the artistic system. The sense of boundaries between them is not lost, but nevertheless, the “home” poems and the poetic tendencies that are embodied in them are not on the periphery of Pushkin’s poetry, but, on the contrary, at the very center of the processes that now determine the evolution of Pushkin’s lyrics. The changes that Pushkin's elegy undergoes at this time, which also loses its former dominant meaning, help to remove the restrictions that the laws of the genre imposed on Pushkin's lyrics. This created conditions for expanding the possibilities of lyrics, in particular for bringing together “home” and “high” lyrics. On the one hand, the evolution of Pushkin’s friendly message leads to the fact that it merges with forms that were previously not allowed within the “high” (generally significant) lyric poetry; on the other hand, a tendency towards combining “high” lyrics and “home” poetry is increasingly revealing itself.

Significant assistance in the restructuring of the genre is provided by friendly writing, which includes poetic insertions that are simultaneously associated with the extraliterary function of the epistolary text and with its literary nature. A typical example of such a letter is Pushkin’s letter to I.E. Velikopolsky dated June 3, 1826; the poetic text, preceding the prosaic text, is included in a complex epistolary context, the everyday reason for which - the need to pay off a gambling debt using the addressee's loss - is played out differently in the poetic and prose parts of the letter (cf.: “You play the lyre very nicely, You play rather poorly at shtos. The 500 rubles you lost are cash witnesses to that...” and “Do me a favor, the five hundred rubles that you owe me are not returned to me...” - XIII, 281-282).

Everyday everyday impressions and realities occupy an increasingly significant place in Pushkin’s lyrics of the Mikhailov period; this also contributes to the transformation of traditional genres, although it does not yet lead to a fall in the boundaries between “high” and “home” lyrics. At the same time, Pushkin’s “home” poems, reflecting his Mikhailovsky (and Trigorsky) impressions, already contain much of what determines the innovation of Pushkin’s lyrics of this time.

Pushkin's life in Mikhailovsky exile, his impressions and relationships of this period were quite widely embodied in lyrics. A number of poems recreate the unique atmosphere that surrounded the poet in Trigorskoye and at the same time captured in his letters, as well as in memoir sources. Pushkin’s “home” poems of this time reproduce, in particular, the playful principle that largely determined his relationship with the inhabitants of Trigorskoye and was reflected both in the poet’s poems and in his correspondence.15 “Home” lyrics of the Mikhailov period are drawn into the focus of artistic quests Pushkin's lyrics; the very nature of these quests contributed to the inevitable rapprochement of “home” lyrics with “high” ones, giving universal significance to such poems that previously would not have gone beyond the peripheral phenomena of Pushkin’s poetry.

However, even in the Mikhailovsky period, the line between poems of a purely “domestic”, intimate nature and poems, which for the author himself, although they remained within the framework of “domestic” lyrics, were still preserved, but at the same time were practically outside its boundaries. The very possibility of such a rethinking is rooted in the depth of the processes associated with the restructuring of the artistic system of Pushkin's lyrics, its movement towards realism.

Within the Mikhailovsky period, the ratio of “home” and “high” lyrics thus changes significantly. “Recognition” and “October 19” demonstrate from different sides the ways of their rapprochement, carried out as a process of mutual attraction. The tendency to merge “home” and universally significant lyrics reveals itself as one of the components of the movement of Pushkin’s lyrics towards realism. Subsequent stages of the development of Pushkin’s poetry are associated with the gradual disappearance of the fundamental differences between “home” and “high” lyrics, which no longer appear as autonomous elements of the artistic system, but as principles ascending to them, the interaction of which is different, compared to previous periods, character. We can talk about residual forms of combining the “domestic” and the universally significant, increasingly revealing a tendency towards interpenetration, which was already evident in the lyrics of Pushkin of the Mikhailov period. In characterizing Pushkin's lyrics of the second half of the 1820s - 1830s, we can therefore limit ourselves to a more summary assessment of the phenomena associated with its artistic evolution, considered from the point of view of those changes that are the subject of this article.

The artistic principles outlined in Mikhailovsky are reinforced by Pushkin’s lyrics of 1826-1828. The lyrical “I” is even more firmly attached to Pushkin’s biography, and accordingly, the role of “home” realities, freely included in Pushkin’s lyrics, is strengthened almost on an equal footing with other components. The clarity of the boundaries between “home” and “high” lyrics has already been lost, therefore the poet’s attitude towards poems that were previously associated with “home” lyrics is changing. Increasingly, they are selected for publication, thus acquiring the character of universally significant lyrics. The author’s image (“the poet’s self”), closely connected with specific biographical features and uniting all of Pushkin’s lyrics, prevents the distinction between “home” and “high” lyrics, which in any case are no longer opposed to each other. However, the selection of biographical realities remains quite strict, although the conscious focus on the autobiographical nature of the lyrical “I” (which has finally lost the features of an elegiac lyrical hero) naturally entails the need to expand the specific biographical principle (including “home” realities).

Pushkin did not publish many poems of this time, such as, for example, most of the love lyrics associated with the hobbies of this time. However, we have no reason to categorically classify them as “home” lyrics or to look for evidence that (as in the case of “Confession”) that they were interpreted in this way by the poet himself. One can rather talk about the insufficient consistency of Pushkin, who published, for example, such a poem as “To Dawe ESQr” (“Why is your marvelous pencil”), but left unpublished a number of other poems, no less related to specific biographical circumstances (some of they, however, could not be published for censorship reasons). It is important that all these poems, both published and not published during Pushkin’s lifetime, are united by a common concept characteristic of Pushkin’s lyrics of the first post-December years, thus representing a certain unity focused on the unity of the “author.”

The tendency towards a complete fusion of “home” and “high” lyrics reveals itself to an even greater extent at the turn of the 1830s (1829-1830). This is a short but extremely significant stage in the development of Pushkin's lyrics. The significant restructuring of the artistic system of Pushkin's work taking place at this time is associated with a significant change in his realism. In particular, this is reflected in the fact that the realities of the objective world are increasingly included in Pushkin’s works.38 Traditions going back to “domestic” lyrics merge with the tendency towards the aesthetic development of all reality as the subject of poetry. The poet’s “I” turns out to be organically merged with the surrounding world, embodied in his poetry; this strengthens the process of the final inclusion of “home” lyrics into generally significant ones. “Home semantics,” as a separate sphere of image, loses its independent meaning: everything related to the private existence of “I” turns out to be capable of representing the world on an equal footing, which now becomes the subject of Pushkin’s lyrics. The autonomy of “domestic semantics,” which was partially preserved in Pushkin’s lyrics of the first post-December years, is thus overcome by the poet.

Therefore, we should no longer be talking about “domestic” lyrics as such, but about the role and forms of manifestation of those of its traditions, which find their expression in the poet’s ever-increasing attention to the objective world. But this essentially removes the very problem of opposition between “home” and “high” lyrics as elements of an artistic system. With the change in their functions, the nature of these phenomena also changes: the “domestic” and the generally significant act as equal components, mutually complementing each other and thus enriching the artistic possibilities of Pushkin’s lyrics, contributing to the implementation of the tasks that Pushkin the lyricist now sets for himself. At the same time, within the artistic system of Pushkin's lyrics, both of these principles continue to play an important role in its evolution. Tracing this evolution, we inevitably encounter the need to establish them as equal, but not identical elements, the combination of which turns out to be one of the structural properties of Pushkin’s lyrics at the turn of the 1830s.

The process of merging the “domestic” and universally significant lyric poetry of Pushkin of the 1830s completes the process. In relation to it, it is in many ways inappropriate to single out the “domestic” principle, since its artistic system appears so integral and cannot be decomposed into opposing (or at least opposed) elements to each other. The world of Pushkin's lyrics is now fundamentally indivisible. Subject and biographical realities, dating back to Pushkin’s “homemade” lyrics of previous periods, lose their former function; their introduction loses its demonstrative nature, their special nature becomes less and less noticeable, they organically merge with the traditionally poetic and, moreover, turn out to be capable of replacing it. This eliminates the need for special motivations for including objective realities in the lyrics (such as the humorous tone of the poem “Approaching Izhora” or, although “gloomy”, as defined by G. A. Gukovsky,42 but still irony

"Road Complaints") So, for example, in “Poems Composed at Night During Insomnia” (1830), written at the turn of the 1830s, the mythological (and therefore “lofty”) image of Parka is combined with the everyday appearance of an old woman: “Parki’s woman’s babbling” (III, 250 ).43 The idea of ​​the apparent meaninglessness of life is then naturally embodied in a similar image, also borrowed from everyday life: “Life is a mouse race” (ibid.). Initially, this verse came into contrast with the previous ones:

The park of the terrible is like babbling

The tramp of a pale horse

Eternity's immortal awe

Life is a mouse race.

Thus, the changing relationship within Pushkin’s lyrics as a system of such elements as “home” and universally significant lyrics reveals the nature of its evolution. Of course, the latter cannot be reduced only to the aspect considered; it includes the interaction of many elements that make up Pushkin’s lyrics as a system. In turn, the lyrics themselves are an integral part of Pushkin’s work, which in relation to it represents a complex system.45 In the system of Pushkin’s creativity, the lyrics come into relationship with its other elements; their evolution, as well as their changing interaction with the lyrics, in turn, influence the nature of the changes that Pushkin’s lyrics undergo. Suffice it to note, for example, the complex relationship in which throughout

For a long time, Pushkin’s lyrics and his poetic epics, especially “Eugene Onegin,” appeared. The nature of the lyricism of Pushkin’s novel not only corresponded to artistic quests in lyricism, but also had an impact on its evolution. In particular, this could be traced in the aspect I considered. S. G. Bocharov expressed the idea that “the lyrics of “I” in the novel are much more empirical and non-generalized than Pushkin’s actual lyrics”; the conditions for this were created by its motivation with the “image of the author.”46 Based on this, it can be assumed that the artistic experience of “Eugene Onegin” was to a certain extent ahead of the evolution of Pushkin’s “lyric poetry itself.” This experience, apparently, also affected the change in the ratio of “homemade” and generally significant lyrics. However, one cannot fail to note here the role that from the turn of the 1830s Pushkin’s prose began to play, entering into a complex relationship and interaction with his poetry. But all these, of course, are new problems, mentioned only to show possible aspects of further research on the topic in a broader context. The purpose of this article was only to outline the general picture of the movement of Pushkin’s lyrics from a selected angle, connecting the idea of ​​​​its evolution with changes within the artistic system that Pushkin’s lyrics of the 1820-1830s constitute.

The topic of the poet's role in society always worried Pushkin. He began to think about this when he wrote the poem “To a Poet Friend.” He defined his place in poetry with poems, and speaks about this in his other works.

Pushkin wrote the poem “To a Poet Friend” while studying at the Lyceum. Even then, in his youth, he thought about the role of poetry. The lectures of Professor Kunitsyn also had a significant influence on his thinking.

Meanwhile, Dmitriev, Derzhavin, Lomonosov.
Immortal singers, and honor and glory of the Russians,
They nourish a sound mind and teach us together

The first thing the young poet pays attention to is education, to the fact that poetry should nourish a sound mind and teach. Pushkin says that poetry is not always fame and money. Names famous writers who died in poverty because they did not know how to bend to anyone and stuck to their ideas, their truths.

Pushkin spent a lot of time in the archives, studying historical documents. With his works, although not always written in the style of realism, he sought to acquaint his readers, Russian society with his native history, and thus nourish a sound mind and teach.

The poem, “To N. Ya. Pluskova,” written in 1819 and published by Pushkin in “Competitor of Enlightenment and Charity” could have alerted the royal celestials, because the poet openly admits that he did not and will not become a court poet. The only thing he is ready to serve and glorify is Freedom.

Only by learning to glorify freedom,
Sacrificing poetry only to her,
I was not born to amuse kings
My shy muse.

True, he admits that he sang the praises of Empress Elizabeth, daughter of Peter I. But this was from sincere motives, and knowing the love of the common people for the empress. Because

This poem clearly defines the civic position of twenty-year-old Pushkin, which becomes prevalent for him for the remaining years. It is worth noting that this was the basis for his conflict with Emperor Nicholas I, who sought to tame Pushkin. He dreamed of having his own court poet, and Pushkin strove for creative freedom. Many believed that personal imperial censorship, the appointment of Pushkin as a palace chamberlain cadet, and the persecution of the poet that followed in the 30s stemmed from this conflict. Although, on the other hand, everyone knows that despite his genius, Alexander Sergeevich’s character was not sweet and he often needlessly insulted and humiliated other people.

Written in the form of a dialogue between a poet and a bookseller in 1824. The poet gets older, and gradually his views change. And the point is not that he becomes greedy, it’s just that, unlike 14-year-old Pushkin, the time has come when he has to take care not only of spiritual food, but also of his daily bread. Therefore, he agrees with the seller when he says

What about Slava? - Bright patch
On the singer's shabby rags.
We need gold, gold, gold:
Save up your gold until the end!

Poetry should teach readers to bring spiritual pleasure, but it should feed the poet himself, regardless of civic positions and worldviews.

In 1826, Pushkin felt himself a prophet. The poem “The Prophet” was suffered through moral torment and long reflection. Pushkin realized that he had to burn people’s hearts with a verb. It is generally accepted that with this poem Pushkin speaks of calls to fight for freedom. But

...God's voice called to me:
“Rise up, prophet, and see and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn the hearts of people with the verb."

God, as we know, never called for a fight with those in power. Jesus taught non-resistance to evil through violence. Is it possible to understand Pushkin’s last lines as meaning that he intends to call a person to moral self-improvement, patience and fulfillment of God’s commandments? We must assume that yes. Many of his works tell us this, especially those related to late philosophical lyric poetry.

Pushkin is a child of his era. And in the first half of the 19th century, the nobles considered the people to be something like children, incapable of expressing their will. The nobles themselves had to make policy in the state, overthrow the kings and free the people from serfdom. By the way, Alexander Sergeevich himself was in no hurry to free his peasants. With the poem “The Poet and the Crowd,” Pushkin showed his attitude towards the people. It is expressed in the words of the mob addressed to the poet

You can, loving your neighbor,
Give us bold lessons,
And we will listen to you.

Pushkin loved the Russian people, but in the words of the poet in the poem, he demonstrates the attitude of other poets towards the people, not his own.

With the poem “To the Poet,” Pushkin demonstrates his attitude to criticism and freedom of creativity, which he valued very highly. This work echoes “Monument,” written six months before his death.

You are your own highest court;
You know how to evaluate your work more strictly than anyone else.
Are you satisfied with it, discerning artist?
Satisfied? So let the crowd scold him

With the poem “Monument” Pushkin, as it were, sums up his work. He talks about

And for a long time I will be so kind to the people,
That I awakened good feelings with my lyre,
That in my cruel age I glorified Freedom
And he called for mercy for the fallen.

And the last stanza is a testament to current and future poets:

By the command of God, O muse, be obedient,
Without fear of insult, without demanding a crown,
Praise and slander were accepted indifferently
And don't challenge a fool.

To summarize, we can say that Pushkin saw the purpose of poetry as teaching his readers to see the beauty in life and nature, to teach love for their native land and native history. He saw freedom in personal freedom, that is, in the ability to create, regardless of anyone, to be able to move around the world depending on one’s desires and capabilities. In his work, a poet should be as indifferent to criticism as possible. The highest critic is himself, the creator of his works.