“The tragic attitude of the lyrical hero M. Lermontov

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OGE. LITERATURE. 2017

(Model exam options edited by A.V. Fedorov)

OPTION 2. LYRICS.

Task 1.2.1.

Why are the reflections of the lyrical hero imbued with tragedy? "Stanzas". M.Yu. Lermontov.

"Stanzas" are the threshold of the poet's entire tragic life. That is why the reflection of the lyrical hero is imbued with such hopelessness and tragedy.

Lermontov wrote his “Stanzas” (“I love until the grave...”) very young, but what disappointment and melancholy sounds in the words of his lyrical hero. He is afraid of causing grief, and maybe even death, to a loved one who loves him. Perhaps that's why he says:

Task 1.2.2.

What is the significance of the third stanza of the poem for understanding its overall meaning?

Lermontov's poem is filled with the sadness of the main character, who sees the vanity and misfortunes of his earthly life and dreams of a different life. Wants to love, but understands the impossibility of this:

I love and fear to be mutually loved...

He understands: everything that loves him “must perish.”

And in the third stanza, the poet compares himself to a cliff that withstands the onslaught of wind and storm, but cannot protect the flowers growing on the rock from them:

That's right, I'm under the blow of fate,

Like a rock, I stand motionless.

But no one thinks of enduring this struggle,

If he shakes my hand...

This comparison helps the reader understand the tragic feelings of the lyrical hero associated with the inability to love.

Task 1.2.3.

Compare the poems of M.Yu. Lermontov “Stanzas” with the poem below by A. S. Pushkin “I loved you”. What are the similarities and differences in the attitude of the lyrical heroes to their beloved?

The poem “Stanzas” by M. Yu. Lermontov is dedicated to the theme of unrequited love. This theme can be traced in the works of other Russian poets. For example, in A. S. Pushkin’s poem “I loved you, love can still be…” the lyrical hero understands that he cannot be with his beloved. In the poem by M.Yu. Lermontov sounds the same motive: “I love and am afraid to be mutually loved.” This is the similarity in the attitude of the lyrical heroes to their beloved.

However, if in the poem by A.S. Pushkin’s hero loves “so sincerely, so tenderly,” but does not want to burden his beloved with his experiences and wishes her happiness with another person, then in M.Yu. Lermontov’s lyrical hero suffers from unrequited love and does not want to be loved: “Let me be unhappy - I’m the only one unhappy...”. If Pushkin is left with sadness in his heart from an unrequited feeling, then Lermontov has only suffering and torment - he is unhappy. This is the difference in the attitude of the lyrical heroes to their beloved.

Thus, both Lermontov and Pushkin show a strong, sublime feeling that completely absorbs their lyrical heroes, but they show it in different ways.

Task 1.2.1.

What “eternal questions” does M.V. reflect on? Lomonosov in the poem “I thought for a long time and was in doubt for a long time...”?

M.V. Lomonosov reflects on the “eternal questions”: the eternal struggle between knowledge and ignorance, spirit and matter.

M.V. Lomonosov, as a scientist who himself made many discoveries, initially doubted that the world was created by the will of God: “And there is no providence from heaven in the entire universe.” As a human poet, he understands that such a vision of the world is the fruit of human pride and arrogance: “... from the height of looking.” “However, having looked at the harmony of the heavenly lights,” the poet became convinced and “recognized that we were created by divine power.” This is the main meaning of thinking about “eternal questions”: the world exists according to certain laws that humanity is not given the opportunity to understand.

Task 1.2.2.

What are the features of the composition of M.V.’s poem? Lomonosov “I thought for a long time and was in doubt for a long time...”?

Composition of the poem by M.V. Lomonosov “I have been thinking for a long time...” is an internal monologue of a lyrical hero reflecting on the laws of nature and human existence. The poem is presented in eight lines, in which the main idea is consistently revealed - the recognition of the divine beginning of the Universe. The peculiarity of the composition is the antithesis, the opposition of the material and spiritual principles in nature: “And there is no heaven in the whole Universe by providence” - “Recognized that we were created by divine power,” from the denial of the spiritual principle in nature to its recognition on the basis of material experience:

However, having looked at the harmony of the heavenly lights,

Earth, seas and rivers kindness and decency,

The change of days and nights, the appearance of the moon,

Recognized...

Task 1.2.3.

Compare the poem by M.V. Lomonosov “I thought for a long time and was in doubt for a long time...” with the poem below by M.Yu. Lermontov “When the yellowing field is agitated...”. What do both poems have in common?

Both poems are reflections of lyrical heroes about the meaning of human existence and the connection between man and nature.

In the poem by M.V. Lomonosov’s lyrical hero at first expresses doubt about the existence of “providence from heaven,” but through material experience he comes to the conclusion that everything around was created by “divine power”, has harmony, “harmony,” “kindness and decency,” that is, he recognizes the spiritual principle in nature.

In the poem by M.Yu. Lermontov’s “When the yellowing field is agitated,” the poet calms down, becomes younger, forgets about his adversities, rejoices, finds happiness on earth and believes in the existence of God, that is, finds inner harmony, only under certain conditions. What can help a person find harmony? M.Yu. Lermontov believes that nature has such power over the consciousness and soul of man.

Both poems are united by a common idea - man is able to know God only through harmony with nature. Having known nature, he knows God.

Task 1.2.1.

Why does the lyrical hero of the poem V.A. Does Zhukovsky’s “The Inexpressible” often resort to rhetorical questions?

The poet defines the genre of his poem as a passage. This indicates the unresolved nature of those eternal questions that underlie this philosophical poem. Its beginning is a philosophical question: “What is our earthly language compared to wondrous nature?” The main part of the poem is the development of the stated topic and an attempt to find an answer to the question posed by stringing together a number of rhetorical questions that clarify and complement the main one. Moreover, the movement of poetic thought is based on contrast. The entire poem is permeated with oppositions: dead - living (“But is it possible to transfer something alive into the dead?”); art - nature (“She (nature) scattered beauty everywhere and agreed with diversity with unity! But where, what brush depicted it?”); word - creation (“Who could recreate a creation in words?”); accessible to expression - the inexpressible (“...We want to give a name to the unnamed - and art is exhausted and silent?”). At the end of the poem, the poet comes to the conclusion: “...And only silence speaks clearly.”

How do you understand the meaning of the last line of V.A.’s poem? Zhukovsky?

The most important thing in life cannot be expressed in words: life is so beautiful and complex that the “earthly language” is insignificant in comparison. This is the main idea of V.A Zhukovsky’s poem. It is expressed in the last line - “And only silence speaks clearly.” The elegy is permeated with slight sadness. The lyrical hero reflects on the mystery of existence - the “inexpressible.” The motif of the impossibility of expressing deep-seated experiences goes back in Russian poetry to the idea of the inexpressibility of the highest states of the soul and the meaning of existence: “What is our earthly language compared to wondrous nature?”; “Is the inexpressible subject to expression?”; “We want to give a name to the unnamed - / And art is exhausted and silent.”

Compare the poem by V.A. Zhukovsky “The Inexpressible” with the poem below by A.A. Feta “How poor our language is! - I want and cannot...” What themes do both works bring together?

It is in the poem by V.A. Zhukovsky’s “The Inexpressible” clearly posed the problem of “inexpressibility,” that is, the search for an adequate poetic language. In Russian poetry, many romantics of the 19th century devoted their poems to this topic, such as Lermontov, Fet, each of whom offered his own original vision of it.

Art is not capable of expressing the true essence of a phenomenon. Only the soul is able to grasp the “presence of the creator in creation.” The motif of the impossibility of expressing deep-seated experiences goes back in Russian poetry to the idea of the inexpressibility of the highest states of the soul and the meaning of existence: “What is our earthly language compared to wondrous nature?”; “Is the inexpressible subject to expression?”; “We want to give a name to the unnamed - / And art is exhausted and silent.” Zhukovsky himself determined the originality of his work: the subject of his poetry was not the depiction of visible phenomena, but the expression of fleeting, elusive experiences. It is very difficult to do this; you need to find words for everything you feel, see, and live.

The same thought is heard in Fet’s poem “How poor our language is...”:

This cannot be conveyed to either friend or enemy,

What rages in the chest like a transparent wave,

In vain is the eternal languor of hearts...

Task 1.2.1.

How does the poem “I remember a wonderful moment...” reveal Pushkin’s understanding of love?

Love for a poet is a deep, sincere, magical feeling that completely captures him, the highest tension of all spiritual forces. No matter how depressed and disappointed a person is, no matter how gloomy reality may seem to him, love comes - and the world is illuminated with a new light. Pushkin knows how to find amazing words to describe the magical effect of love on a person:

The soul has awakened:
And then you appeared again,
Like a fleeting vision
Like a genius of pure beauty.

Even after going through a difficult time, full of life’s trials and experiences (“In the wilderness, in the darkness of imprisonment...”), when the poet’s life seemed to freeze and lost its meaning, Pushkin awakens and is reborn along with love. Together with the beautiful muse, inspiration and the desire to create return to the poet:

And the heart beats in ecstasy,

And for him they rose again

And deity and inspiration,

And life, and tears, and love.

Task 1.2.2.

What role do epithets play in the poem?

The poet paints in the poem an ideal, heavenly image of a woman, alien to everything earthly. The lyrical hero calls her “a genius of pure beauty,” “a deity,” admiring her sweet, “heavenly features.” But this is not just a love letter in which the author expresses admiration for a pretty woman. This is a kind of poetic biography: “the soul has awakened” after a spiritual crisis and love has appeared - the constant companion of poetry. Lifelessness, the loneliness of exile, the “darkness of imprisonment” destroyed love, but it came again and brought with it even stronger feelings than the previous ones. Instead of the “languor of hopeless sadness,” the poet comes to “ecstasy” with the power of love, the fullness of life.

Thus, fragile beauty is able to defeat the “rebellious impulse of a storm,” and only one “wonderful moment” is stronger than long years of imprisonment. This is a real miracle of love, thanks to which “the deity, and inspiration, and life, and tears” were resurrected. For Pushkin, to love means to live and create; love is a great source of inspiration.

In order to more accurately and figuratively talk about the hero’s state of mind, the poet used epithets: “wonderful moment”, “hopeless sadness”, “heavenly features” and others listed above. The figurative definition of “genius of pure beauty” is used twice to emphasize the external and internal appearance of a beautiful girl.

Task 1.2.3.

Compare the poem by A.S. Pushkin “K***” (“I remember a wonderful moment...”) with the poem below by F.I. Tyutchev "K.B." What is common in the solution to the theme of love in both poems?

The lyrics of love occupy a large place in the works of many poets. Lyrical masterpieces are the poems by A. S. Pushkin “I remember a wonderful moment...”, written in 1825, and F. I. Tyutchev’s “I met you - and all the past...”, written in 1870.

These poems are united by the theme of love. For both poets, love is poetry that takes possession of a person’s entire being, and all his internal forces come into motion:

I remember a wonderful moment:

You appeared before me,

Like a fleeting vision

Like a genius of pure beauty.

(A.S. Pushkin)

Like late autumn sometimes

There are days, there are times,

When suddenly it starts to feel like spring

And something will stir within us...

(F.I. Tyutchev)

The poem “I remember a wonderful moment...” and “I met you - and all the past...” are permeated with sadness, memories, and the happiness of a new meeting. Words:

And you have the same charm,

And that love is in my soul!..

And deity and inspiration,

And life, and tears, and love.

reveal the beauty and completeness of a person’s inner world when he loves.

The works are similar in their poetic plot (“awakening” of the soul of the lyrical hero), in the special and sublime nature of his depiction, and have identical images (“lovely features”, “heavenly features”). If the soul of the lyrical hero Pushkin was asleep (“the soul has awakened”), then the heart of the lyrical hero Tyutchev was dead (“an obsolete heart”). The return of his beloved “awakens” Pushkin’s hero and plunges Tyutchev’s hero into sleep (“I look at you as if in a dream”).

Both poems belong to love lyrics, to the genre of lyrical work. The key, central word is the word “love” (“and the same love in my soul”, “and life, and tears, and love”).

Thus, a comparative analysis of the poems by A. S. Pushkin “I remember a wonderful moment ...” and F. I. Tyutchev “I met you - and all the past ...” allows us to see the great artists of words who created vivid images of Russian poetry, deep in content and graceful in form.

Task 1.2.1.

Describe the mood of the lyrical hero of the poem by A.S. Pushkin "Cloud".

The cloud in Pushkin's poem is an unwelcome guest for the poet. He rejoices that the storm has passed and that the sky has become azure again. Only this belated cloud reminds of the past bad weather: “You alone cast a gloomy shadow, You alone sadden the jubilant day.”

Quite recently, she ruled in the sky because she was needed - the cloud brought rain to the “greedy earth.” But her time has passed: “The time has passed, the Earth has become refreshed, and the storm has flown by...” And the wind drives this already unwanted guest from the brightened skies: “And the wind, caressing the leaves of the trees, drives you from the calmed skies.”

Thus, for the hero Pushkin, a cloud is the personification of something formidable and unpleasant, terrible, perhaps some kind of misfortune. He understands that its appearance is inevitable, but he is waiting for it to pass and everything will get better again. For the hero of the poem, a natural state of peace, tranquility, and harmony is present.

A. S. Pushkin’s poem “Cloud” is imbued with a feeling of hope for the best. We see the victory of good over evil. The mood of the lyrical hero changes during the course of the poem. At first it is gloomy, and dull, and sad, but just as after rain and thunder nature is “reborn”: “the earth is refreshed” and the wind “caresses the leaves of the trees,” so the poet’s soul becomes clear and bright.
The first line of the poem “The last cloud of a scattered storm! “The lyrical hero-author shows that the main storm is already behind us, thunder, lightning - everything has already passed. This means that the composition of the poem seems to lack a peak moment - a climax. The last cloud is just a remnant of the raging elements. So we can call the entire poem “Cloud” the denouement of some action: the hero is already calming down, his mood is improving, his soul becomes light and free, and nature is gradually recovering from the storm.

Task 1.2.2.

How do the natural world and the human world relate in Pushkin’s “Cloud”?

Nature in Pushkin’s lyrical works is beautiful and spiritual. Therefore, the world of nature and the world of the human soul in A. S. Pushkin’s poem are closely and inextricably linked. Various natural phenomena and events symbolize the internal state of a person, his experiences, emotions, joys and sorrows. That is why one of the poet’s favorite techniques is personification (“you sadden the jubilant day,” “the wind caresses the leaves of the trees”). In a seemingly ordinary phenomenon - a thunderstorm - the poet sees the mystery of existence and the solution to the riddle of the soul: everything in the world is cyclical, everything returns to normal, and after the dark streak in life there will definitely come a bright one.

Task 1.2.3.

Compare the poem by A.S. Pushkin “Cloud” with the poem below by M.Yu. Lermontov “Clouds. What motives bring both poems together?

The poems of A. S. Pushkin and M. Yu. Lermontov are united by the theme of nature and the technique of personification, with the help of which its phenomena are depicted (for example, in both poems the lyrical hero conducts a dialogue with the clouds). Natural images help to understand the world of the lyrical heroes of the works.

The motifs of suffering, sadness and loneliness, embodied in the image of a cloud, bring both poems together. However, in Pushkin’s poem, the cloud is a symbol of troubles, from which the lyrical hero happily gets rid of, overcoming fears and despondency, becoming enlightened. Lermontov’s hero has a lot in common with the clouds (the comparison technique is used: “as if they were like me, exiles”): this is freedom, and a feeling of disconnection from the world, and endless lonely wanderings. And Lermontov’s lyrical hero cannot overcome this loneliness.

Thus, Pushkin’s poem, thanks to the image of a cloud disappearing from the sky, is imbued with a bright worldview, and Lermontov’s work sounds tragic notes

Task 1.2.1.

Describe the feelings experienced by the lyrical hero of the poem by F.I. Tyutchev watching the flight of a kite.

The lyrical hero of the poem F.I. Tyutcheva sincerely admires the flight of the kite, for which the sky is a native and familiar element. For Tyutchev’s hero, such a flight symbolizes inner freedom, which he is deprived of due to life circumstances. That is why it is so joyful and sad for him at the same time to watch how the kite goes up into the heights, which nothing holds on the ground.

“Mother Nature gave him two powerful, two living wings,” the poet notes. admiring the strength of this proud and independent bird. In a person, he cannot grasp such qualities that would allow him to easily abandon worldly vanity and rise above it. “And here I am, covered in sweat and dust. I, the king of the earth, am rooted to the earth. ", the lyrical hero of the poem reflects. This phrase contains a share of regret, but at the same time it contains a shade of pride that man is still a higher being. True, his fate is destined to be a ruler on earth, and heaven is not yet subject to the crown of the Lord’s creation. It is for this reason that the hero is sad, because earthly life is full of vanity, lies and empty hopes, while heaven gives a feeling of self-confidence, harmony and genuine happiness. But the world is structured in such a way that people are not given the opportunity to become birds, and the lyrical hero does not want to put up with this.

Task 1.2.2.

How does the technique of antithesis help to realize the author’s intention?

The poem is built on the opposition of earth and sky, kite and man, movement (soared) and immobility (grown). And one more thing - the kite flies up from the clearing into the sky - this is at the beginning, and in the last line the man seems to return the action to the ground. Repetitions in a poem are very important, although they are not always complete. The kite soared and curled, rose high and higher, to the sky and beyond the horizon, it has two powerful, two living wings (epithets), and the fact that even its wings are alive enhances the impression of the beauty and harmony of the kite with nature. And man is the king of the earth, but he is rooted to the earth. The repetitions strengthen the contrast between the images of the kite and the man, and also make the poem a little gloomy. Nature is majestic; man thinks that he is great (king of the earth), but small and insignificant before nature.

Thus, in the poem, by contrasting the sky - a symbol of the high, ideal, beauty and harmony with the earth, from which a person cannot tear himself away - with a symbol of everyday life, earthiness, the poet embodies his author’s intention: to show the place of man in the universe.

Task 1.2.3.

Compare the poem by F.I. Tyutchev “From the clearing the kite rose...” with the fragment of the ode given below by G.R. Derzhavin "god". What is common and different in the poets’ assessment of man’s place in the universe?

The main idea of Derzhavin’s poem is contained in the line “I am a king - I am a slave - I am a worm - I am a god!” The poet says that the significance of man on earth is too broad, immense: he can be a god and a king, but in comparison with the universe, man is a worm and a slave. Tyutchev has a similar thought in the last line of the poem: “I, the king of the earth, have grown to the earth!..” A person who considers himself a king is deprived of freedom, cannot fly into the sky like a kite - is he really such a king after that? This is the commonality of the authors’ positions.

However, G.R. Derzhavin goes further in the embodiment of the plan: a person is not just an insignificant speck of dust, doomed to a mundane existence, not knowing and having nothing but earthly, material shackles. Man is God, man is the one who awakens God not only in himself, but in the entire world around him. This is the poet’s assessment of man’s place in the universe. At F.I. Tyutchev is more sarcasm in assessing the place of man in the universe: “I, the king of the earth, have grown to the earth!” This is the difference between the author's positions.

Task 1.2.1.

What is the role of epithets in the poem by F.I. Tyutchev “There are in the brightness of autumn evenings...”?

An epithet is a figurative definition used to express an expressive assessment of phenomena and objects in a literary text. The epithets used in this passage emphasize the mood of the lyrical hero, his perception of the evening. Tyutchev has many epithets. Most of them are light, describing the charm of autumn evenings (“touching mysterious charm”, “Foggy and quiet azure”, “light rustling”). However, evening nature can be different: amid the calm, an “ominous shine” may appear, the earth seems “orphaned.”

Task 1.2.2.

How do you understand the final lines of the poem?

Tyutchev, as a romantic poet, sees the eternal, Divine principle in nature, and as a Christian, he understands that only God is the source of spiritual rebirth. Lordship, light for the poet is a source of spiritual purification; this lordship is “touching”, “mysterious”, “meek”, it was with her that the poet compared and in her he saw “Divine suffering” - a prototype of human morality. Light is God. Thus, Tyutchev, summing up his thoughts, says that God will help a person cope with exhaustion, fatigue, fatigue.

Task 1.2.3.

Compare the poem by F.I. Tyutchev “there is in the lightness of autumn evenings...” with the fragment of the poem by A.S. given below. Pushkin's "autumn". What is common in the perception of autumn nature by the lyrical heroes of both poems?

Both poems are imbued with light sadness. Against the background of “bright suffering”, Tyutchev’s “ominous shine” of the passing autumn appears. The epithet “sinister” is a metaphor expressing the author’s idea of the fragility of the world. That’s why autumn evenings of nature and life seem so close and dear to people. For Pushkin, autumn is his favorite time of year, despite the “withering of nature” and the “gray winter threat.” Autumn is perceived by poets as a period of reflection on the essence of human existence, summing up certain life results.

Task 1.2.1.

Describe the epithets found by the poet to recreate the central image of the poem “Fountain” by F.I. Tyutcheva.

The central image of the poem by F.I. Tyutchev is a fountain that acts both as a physical phenomenon, a waterfall, and as human thought.

Tyutchev depicts a beautiful multi-color picture of a “shining” fountain using epithets that serve as metaphors: “cherished heights,” “a living cloud,” “wet smoke.” "Fire-colored dust." The artist very unexpectedly compares the fountain with the fiery element, identifies the fountain with a “living cloud,” trying to attract the reader’s attention.

The second part of “The Fountain” is dedicated by contrast to the “mortal thought” of man, which “rushes towards the sky with a persistent ray” in order to comprehend the mystery of Being. The eighth line, conveying the internal state of the lyrical hero, is emotionally rich due to the epithets: “mortal thought” (that is, not eternal, like the Universe, but similar to the person himself, since it belongs to him), “inexhaustible water cannon” (like a fountain, human thought is always found in motion, in search of truth), “your stubborn ray” rushes “greedily to the sky” (thought strives upward, the desire to comprehend the unknown). Epithets helped the author convey the basic philosophical idea about the powerlessness of human thought to go beyond the impossible, where the “invisibly fatal hand” overthrows it like a fountain.

Task 1.2.2.

Is it possible to say that the main idea in the poem is the idea of the powerlessness of human thought?

Tyutchev’s poem “The Fountain” is a reflection on the tragic discrepancy between the desire of human thought to embrace and cognize all the laws of the Universe and the limitations of its capabilities:

How greedily you strive for the sky!..

But the hand is invisible and fatal

Your beam is persistent, refracting,

Throws down in splashes from a height.

This, according to the poet, is the tragic meaning of human existence. He cannot help but strive upward, like a powerful jet of a fountain - such is his human nature. However, he cannot comprehend everything that he would like, like the waters of a fountain:

Raising his beam to the sky, he

Touched the treasured heights -

And again with fire-colored dust

Condemned to fall to the ground.

This discrepancy is all the more sad because human thought is beautiful in its best manifestations: “How the moist smoke burns, how it crushes in the sun.” However, reaching a known limit, it turns into multi-colored dust. And this is the harsh law of the Universe.

Tyutchev affirms the mystery and inconsistency of the human mind, its greatness and powerlessness. No matter how a person strives to achieve the ideal, no matter how high his “mortal thought” soars, the “invisibly fatal hand” will bring it down from above, just as a fountain “is condemned to fall to the ground.”

Task 1.2.3.

Compare the poems of F.I. Tyutchev “Fountain” and “A kite rose from a clearing...”. What are the similarities between the ideas of the two poems?

Tyutchev’s poems “The Fountain” and “The Kite Arose from the Clearing” can be compared with each other in that in both works the theme of the relationship between man and nature is the leading one. I note that the lyrical heroes of the poems admire the strength and beauty of nature and regret the limitations of human capabilities to understand the Universe in all its manifestations.

The tragic meaning of human existence lies in the fact that he cannot help but strive upward, like a powerful jet of a fountain - such is his human nature. However, he cannot comprehend everything that he would like, like the waters of a fountain. This is the main idea of the poem “Fountain”. In the poem “The kite rose from the clearing...” this same idea is revealed through a comparison of a person with a kite: a person, even though he is the “king of the earth,” cannot rise into the sky, like a freedom-loving, free kite.

Task 1.2.1.

What mood prevails in the poem by S.A. Yesenin “Go you, Rus', my dear...”?

The poem “Go away, my dear Rus'” is permeated with the poet’s feelings and emotions that overwhelm his heart. First of all, it is enlightened delight, pride for the homeland, Rus'.

For the poet, there is nothing more precious and important than Russia; he cannot imagine his life without it. He compares all the houses of the village with something sublime, divine (“the huts are in the robe of the image”), because the “robe” is a church robe, beautiful, shimmering with gold. Yesenin gets drunk from his great love for endless fields, the smell of apples and honey at the “meek Savior”, revels in the piercing blue of the sky, which “sucks the eyes”, the ringing “girlish laughter”, “the pleasure of green lechs”. He calls himself a “passing pilgrim,” and his homeland, Rus', “paradise.” And even the “holy army” - the angels - cannot seduce the poet with life in Paradise, since he has already found his eternal Paradise - his Rus'. The entire poem - from beginning to end - sparkles with happiness, joy, and love for the native land.

Task 1.2.2.

By what means in the poem by S.A. Yesenin creates the image of Rus'?

The poet introduced biblical images into the poem: huts, the meek Savior, the holy army, paradise. The lyrical hero is compared by the poet with the pilgrim. Nature is perceived by the poet as a divine temple. God, the village landscape and the homeland merge, forming a single picture of the world. “Blue Rus'” is for the lyrical hero the best place in the world: If the holy army shouts: “Throw away Rus', live in paradise!” I will say: “No need for paradise, Give me my homeland.” The poem uses verbs in the form of the future tense or conditional mood: the lyrical hero is just about to set off on a journey in order to experience the endless expanses of his native land. The artistic and expressive means used by Yesenin, primarily personifications, create a living image of the world stretching between heaven and earth. The poem uses alliteration (whistle consonant sounds are repeated), which create an expressive sound-written image of the blue of the endless Russian expanses corroding to tears: There is no end in sight - Only the blue sucks the eyes. The poem is written in trochaic tetrameter. Yesenin's trochee is romantically extended, rich in pyrrhic elements, which impart melodiousness, lyrical fluidity, and sincerity to the entire work.

Task 1.2.3.

Compare the poem by S.A. Yesenin “Go you, Rus', my dear...” with the poem below by M.Yu. Lermontov "Motherland". What is common and different in the attitude of poets to the Motherland?

The poems of Yesenin and Lermontov are similar in theme, images and differ in motives. In both poems, through the perception of the lyrical hero, love for the Motherland, admiration for it, and selfless service to it are conveyed. “I love my fatherland...” states the lyrical hero of the poem “Motherland”; in Yesenin’s poem in the last lines “No need for paradise, give me my homeland” the same selfless love for the fatherland sounds.

Both poems contain an image of the homeland. This image in both poems is the image of peasant, “unofficial” Russia: Yesenin’s Rus' with huts and Lermontov’s homeland with huts “covered with straw”; “free the green forests” in Yesenin’s work and “the boundless swaying forests” in Lermontov’s poem.

But if Yesenin’s landscape is painted in light colors: “The blue sucks the eyes,” then in Lermontov’s poem sad, melancholy motifs sound: “On a country road I love to ride in a cart and, with my gaze slowly piercing the shadows of the night, I meet on the sides, sighing for an overnight stay, trembling lights of sad villages." This was due to both the class affiliation of the poets and their personal fate.

Task 1.2.1.

What visual and expressive means did I.A. use? Krylov to create the fable images of “Pigs under the Oak”?

Three images are introduced by I.A. Krylov in the fable “The Pig under the Oak”: the image of the Pig, the image of the Raven, the image of the Oak. Under these images the author hides human qualities. And for this he uses allegory and allegory. The pig in the fable symbolizes greed, ignorance, rudeness; Raven - enlightenment, prudence, Oak - wisdom. To convey the smug, stupid behavior of the Pig, Krylov resorts to colloquial vocabulary: “I ate to my heart’s content”, “I ate my eyes out”, “with my snout”. The pig is shown in actions, the last of which is not only absurd and meaningless, but also harmful - “and began to undermine the roots of the oak tree.” Another means that the author used to create fable images is the dialogue of the heroes, in which the characters of all the heroes are most clearly revealed: the wisdom of the Oak, the prudence of the Raven, the stupidity and rudeness of the Pig.

The whole fable is built on the opposition of experience, knowledge, wisdom, stupidity and ignorance.

Task 1.2.2.

What vices, besides ignorance, are exposed in the fable “The Pig under the Oak”?

The pig is unable to see anything beyond its nose. This is an image that ridicules the laziness and ignorance of people. Krylov chose this particular animal for a reason. We all know a certain feature of pigs - they are not able to raise their heads up. It is this quality that makes it possible to ridicule a person who not only does not want to listen and know anything, but is no longer capable of doing so. In addition, the Pig acts as an ungrateful creature, unable to appreciate the help and benefit of others. Another vice of the Pig - greed and stupidity - is manifested in its response to the Raven.

Task 1.2.3.

Compare the fables of I.A. Krylov “The Pig under the Oak” and “The Miser and the Chicken”. What themes and issues do the two fables share?

These works by Krylov are united by a common theme and social issues.

So in the fable “The Pig under the Oak”, ignorance, stupidity, inability to cause-and-effect analysis and inability to think logically are ridiculed. Using the example of the Pig, the author also shows such a vice as disrespect for others, for other people’s work, ingratitude for the benefits that they bring to you.

In the fable “The Miser and the Hen,” the main character is a bearer of such vices as lack of common sense, ingratitude (“ingratitude without fear of sin”), and inability to appreciate other people’s “good deeds.”

Thus, we can conclude that the exposure of ignorance, stupidity, disrespect for the work of others, ingratitude and how the author reveals these topics, what conclusions he draws, is what unites the fables.

Already in Lermontov’s early poems, the motif of rebellion, “thirst” for freedom, and the desire to fight becomes more and more obvious. The poet creates the image of a lyrical hero, dissatisfied with life, dreaming of real activity. “Life is boring: when there is no struggle...” Lermontov proclaims in the poem “June 1831, 11th Day.” For him, Byron becomes the ideal poet-fighter, but Lermontov is aware of his national identity, his special path:

No, I’m not Byron, I’m different, a still unknown chosen one, like him, a wanderer persecuted by the world, but only with a Russian soul.

In Lermontov's essentially freedom-loving lyrics, a feat in the name of freedom is glorified, an image of a majestic hero with an “exalted brow” arises, who brings retribution to the oppressors of freedom (“The year will come. Russia’s black year”).

The romantic image of a searching, restless hero, thirsting for freedom, is created by the poet in the poems “Sail”, “Captive Knight”. Lermontov contrasts tyranny with freedom, and its symbol is a lonely sail.

The Byronic motif of loneliness, disappointment, exile runs through all of Lermontov’s poetry, but is especially clearly manifested in the poems “I go out alone on the road...”, “Both boring and sad...”, “Cliff”, “In the wild north... "

Lermontov does not have landscape poems that depict static, frozen nature. Nature is always connected with man by the law of the universe and corresponds to his state of mind or, conversely, contrasts with it. In the poem “You walk alone on the road...” the grandeur of the night, silence and peace amaze the hero. Nature is a divine harmony that knows no contradictions. However, the poet’s thought turns to the lives of people, where there is no “freedom and peace”, where passions rage. It’s hard and sad for the poet, the thought flashes “to fall asleep in the cold sleep of the grave,” but life is still dear to the poet.

Lermontov has almost no poems where nature would be given without connection with man. In the poems “Clouds,” the hero’s exile is reflected in the movement of clouds “from the dear north to the south.” Each psychological state of a person sorting through the causes of exile (“is it fate, deprivation? Is it secret envy? Is it open anger?”) corresponds to the state of nature. But the clouds are devoid of human passions and suffering, and their flying image makes the poet think about the happiness of earthly attachments, about the value of not being free from the Motherland.

Patriotic motives permeate all of Lermontov’s poetry. Many of the poet’s poems are filled with love for the homeland (“When the yellowing field is agitated...”, “Motherland”). In the poem “Motherland,” Lermontov calls his love for the Fatherland “strange.” This “strangeness” comes from the duality of the poet’s feelings in relation to the Motherland. He loves the beauty of Russian nature, he loves the Russian people. At the same time, the poet’s reason cannot overcome hatred of feudal, autocratic Russia. Lermontov separates genuine patriotism from the official, official patriotism of Nikolaev Russia. The poem “Motherland” reveals the poet’s national self-awareness, which is reflected in “Borodino”, in “The Song about Tsar Ivan Vasilyevich, the young guardsman and the daring merchant Kalashnikov.”

“The Song...” is based on historical material from the times of Ivan the Terrible, written in a folk poetic style. However, not only the form is popular here, but also the ethical position itself. The young merchant Stepan Kalashnikov, unafraid of the tsar’s wrath, stood up for the honor of his wife and killed the tsar’s guardsman Kiribeevich. Kalashnikov stood “for the truth to the last day.” In “The Song...” the people's truth and the willfulness of the authorities collided. The meaning of the work was very relevant - in conditions of despotism, a person must defend his honor and dignity at any cost.

“The song...” was read as a call for freedom. According to Belinsky, in “Song...” the “blood relationship of the spirit” of the poet with the “national spirit” was revealed.

Love for people's Russia was combined in Lermontov's poetry with contempt and hatred for the oppressors. In the poem “How often surrounded by a motley crowd...” the poet in one phrase gives a damning description of secular society:

... images of soulless people, masks pulled together in a decorous manner.

Lermontov sees the emptiness, the mental and moral insignificance of this crowd, hears “hardened speeches”, devoid of living feeling, impulse. This environment in which he is forced to live is alien to the poet.

Reflections on his contemporaries, on the fate of his generation make up the content of the tragic in pathos poem “Duma”. The poet does not separate himself from his generation and bitterly gives a far from positive description of it. Inaction, indifference, unbelief, slavery are the features of a generation living “by the mistakes of their fathers and their later wisdom,” i.e. ideological heritage of the Decembrists. Lack of goals, fruitless pursuits of science, and lack of strong feelings turn contemporaries into “skinny fruit, ripe for the time being.”

And we hate, and we love by chance, Without sacrificing anything, neither anger nor love. Morally devastated, devoid of integrity, We will pass above the world like a gloomy and soon forgotten crowd without noise or a trace...

The poet condemns passivity and calls for the awakening of civil conscience and action. The critical pathos of the poem is enclosed in the form of an elegy, confessional and satirical at the same time.

The constant theme of Lermontov's poetry, which worried him all his life, was the theme of the poet and his purpose, the relationship of the poet with society.

“The Death of a Poet” is a poem in which Pushkin’s death is perceived as a huge national tragedy and as a personal loss. With the death of the “wonderful genius,” the “slave of honor,” “the sounds of wonderful songs fell silent.” The mournful song about the deceased poet is replaced by an angry appeal to those who stand in a “greedy crowd” at the throne, who are the true culprit of the death of the great poet. Lermontov fearlessly calls them “the executioners of freedom, genius and glory.” He accuses the court mob of persecuting the poet and deliberately persecuting him. Lermontov threatens them with a harsh and fair trial of the descendants who will avenge the death of the genius.

The theme of “the poet and the crowd” is revealed somewhat differently in Lermontov’s poem “The Poet”. This poem is based on an extensive comparison: poetry is compared to a dagger, which can be either a formidable weapon or a golden toy hanging on the carpet. Lermontov condemns the poets whose voices have fallen silent, who exchanged the opportunity to own the hearts and minds of people for gold. Even the crowd despises a poet who has forgotten his destiny. In conclusion, Lermontov calls on the “mocked prophet” to wake up for new songs.

The image of the poet-prophet symbolizes citizenship in poetry. Lermontov’s poem “The Prophet” seems to continue the theme from the moment where Pushkin left off in his “Prophet”.

Pushkin showed the creation of the Prophet by the supreme Creator and called:

Arise, prophet, and see and listen, Be fulfilled by my will. And, going around the seas and lands, burn the hearts of people with the verb.

Lermontov's Prophet tried to carry his words to people. But the crowd does not believe him, does not understand him:

All my neighbors madly threw stones at me.

The crowd greets the Prophet with ridicule, contempt, and insults. The role of the poet and his position in society are sad.

Lermontov's love lyrics are marked by some features characteristic of all his poetry. There are few bright, joyful, “wonderful” moments in it that permeate all of Pushkin’s intimate lyrics. Lermontov bitterly admitted: Material from the site

Let me love someone: Love does not brighten my life.

For Lermontov, love is “the strongest passion,” deep, but unsatisfied, and does not bring happiness. That is why love is tinged with tragedy, and reflections on the transience of life and death are woven into the declaration of love. The discord between dream and reality, which defines the romantic character, is characteristic of the hero of Lermontov's love lyrics. His sincere feelings do not evoke reciprocal love; he is deceived in his hopes. The motif of unrequited love, betrayal, and deception is constant in the poet’s love lyrics. The lyrical hero is looking for a friend in a woman who can understand and appreciate his feelings (“I am writing to you,” “Don’t laugh at my prophetic melancholy”), but he encounters misunderstanding. He strives for the fullness of love, but the disharmony that dominates life destroys feelings (“Stanzas”). Lermontov’s love dedications had specific real addressees. In these poems, portrait miniatures were created, only slightly individualized. In general, Lermontov’s female ideal is of an abstract nature. The poet compares his beloved with an angel, with Raphael’s Madonnas, creating some kind of abstract ideal image, or draws a collective image of a secular woman. Lermontov sketches her outer appearance, but strives to reveal her inner world more fully. As the characteristic features of a secular beauty, the poet highlights slyness, pretense, and lies hidden behind secular manners (“Portrait. A Secular Woman”).

Whatever Lermontov wrote about, his poetry was always not only the poetry of feeling, but also the poetry of thought. Any motive, any theme was presented by the poet in a philosophical manner - in correlation of a separate phenomenon with the universal universe.

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On this page there is material on the following topics:

main motives of M.Yu Lermontov's lyrics
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not every prospect has a plan
freedom-loving lyrics by Mikhail Lermontov
motives of Lermontov's love lyrics

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

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

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

The poem Monologue, which appeared in 1829, repeats this theme:

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

It is obvious that “empty storms” personify petty passions, love experiences and intrigues, and the “poison of anger” is the poisonous effect of the public and high society on a pure soul, which ultimately becomes satiated with everything that society has to offer.

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

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

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

Loneliness raised to absolute

The lyrical hero in Lermontov's poems has a sharply negative attitude towards reality and the society of his time. Initially, this manifested itself in non-acceptance of humanity due to the low moral qualities and pettiness of each person. This point of view goes back to the implementation of romantic tendencies by Zhukovsky. But, unlike Zhukovsky’s romanticism, in Lermontov’s artistic concept the opposition arises not between the hero and the abstract world, but between the hero and the living, very bright real environment. The conflict between the hero and the environment turns out to be insoluble, the hero remains misunderstood. This gives rise to the theme of loneliness - perhaps the most important for understanding the poet’s work.

"Alone among the noise of people,
I grew up under the shadow of an alien self.”

The lyrical hero turns out to be completely devastated, broken by an idle life. Inspiration did not come to him, because “ardent friends”, a kind of snake-tempters, had already been found, which means the soul of the lyrical hero became deaf to creativity:

“I remembered past misfortunes,
But I won’t find it in my soul
No ambition, no participation,
No tears, no fiery passions."
“Alone, among human noise,” 1830.

The poem of the same name speaks not only about apathy, but also about the decadent state of other people who can only share the joys of life, and the sorrows of others are not needed or interesting to them:

“How terrible life is in this shackle
We have to languish alone.
Everyone is ready to share the fun:
Nobody wants to share the sadness.”

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

“And I see a secluded coffin,
He is waiting; Why hesitate above the ground?
…
No one will complain about it,
And they will (I'm sure of it)
More fun about death
What about my birth..."
"Loneliness", 1830.

The final lines take the feeling of anguish at being misunderstood by society to a new level. Here the hero’s inconsistency with the crowd, his uniqueness, and individualism are quite clearly expressed. Denial, disbelief in the possibility of realizing aspirations, finding a soul mate - all this is embodied by the lyrical hero of Lermontov’s poetry. It is worth saying that loneliness is not an ideal state. Despite the escapism, the hero does not find peace in solitude. We can say that he is not satisfied with any of the conditions offered by life, he is not comfortable with any of the options for escaping from reality (rising above the world, thoughts about nature, freedom or conscious alienation), but, as they say, he chooses the lesser of two evils . Loneliness is understood as both a reward and a curse. Lermontov's lyrics are characterized by maximalist negations, an absolute opposition between man and the world, conditioned by a romantic perception of reality.

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

Gradually, in Lermontov’s work, the lyrical “I” distances itself from the author, the image of a romantic appears, to whom peace is alien, and life in captivity and passivity is impossible, because the hero was born for something else:

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

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

“Like my demon, I am the chosen one of evil,
Like a demon, with a proud soul,
I am a carefree wanderer among people,
Stranger to the world and heaven."
“I am not for angels and heaven...”, 1831.

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

"He despised pure love,
He refuses all prayers
He sees blood indifferently.”

The loneliness of the demon here is close to absolute, since he cannot find a soul mate in any of the worlds: both people and muses shun him. The image of a demon also appears in the poem of the same name. Here the lyrical hero embodies the concentrated loneliness and meaninglessness of existence; the tragedy of the search for happiness in earthly life while striving for heaven appears as the tragedy of the search for personality in a transitional era. The joyful beating of life in the rhythm of the stanza makes the indifference of the lyrical hero even more terrible. It is worth saying that Lermontov’s demon is not an evil spirit; for the writer, evil is unfulfilled good.

The image of Lermontov’s lyrical hero and the lyrical “I” appear not only as a subject, but also as an object, that is, not only as an actor, but also as those towards whom the action is directed. Self-analysis leads to disappointing conclusions: doubts are born about the original aspiration for good, faith in the beautiful disappears.

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

Since 1830, romantic irony begins to appear in the poet’s poems, aimed at debunking romantic clichés:

“Do not seek heavy passions;
And as long as God gives,
Drink the nectar of joyful hours;
And sadness will come on its own.
…
The heart is a stupid creature,
But you can live with your heart,
And crazy excitement
You can also tame..."
"Council", 1830.

It is noteworthy that the advice to enjoy life is the opposite of other Lermontov lines - “I want to live! I want sadness..." It turns out that refusal to experience negative emotions is essentially a refusal of real life, and those who follow the advice will doom themselves to an idle existence. Constant entertainment can lead to loss of individuality and the depth of the inner world. From the poet’s point of view, such a life seems to be a much greater grief than being rejected by everyone.

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

It was Lermontov who first used the word “alienated” in this meaning. And, despite the fact that this poem is classified as love poetry, the word goes beyond the boundaries of the love theme. It leads to a dramatic ending:

“So a traveler in the darkness of the night,
When the wild fire sees,
Runs after him... grabs him with his hand...
And - an abyss under the sliding foot!
“K*** (Don’t attract me with beauty!)”, 1829.

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

On the way to realism

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

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

OPTION 2. LYRICS.

Kim 1.

Task 1.2.1.

Task 1.2.2.

What is the significance of the third stanza of the poem for understanding its overall meaning?

I love and fear to be mutually loved...

He understands: everything that loves him “must perish.”

And in the third stanza, the poet compares himself to a cliff that withstands the onslaught of wind and storm, but cannot protect the flowers growing on the rock from them:

That's right, I'm under the blow of fate,

Like a rock, I stand motionless.

But no one thinks of enduring this struggle,

If he shakes my hand...

This comparison helps the reader understand the tragic feelings of the lyrical hero associated with the inability to love.

Task 1.2.3.

Thus, both Lermontov and Pushkin show a strong, sublime feeling that completely absorbs their lyrical heroes, but they show it in different ways.

Kim 2.

Task 1.2.1.

What “eternal questions” does M.V. reflect on? Lomonosov in the poem “I thought for a long time and was in doubt for a long time...”?

M.V. Lomonosov reflects on the “eternal questions”: the eternal struggle between knowledge and ignorance, spirit and matter.

Task 1.2.2.

What are the features of the composition of M.V.’s poem? Lomonosov “I thought for a long time and was in doubt for a long time...”?

However, having looked at the harmony of the heavenly lights,

Earth, seas and rivers kindness and decency,

The change of days and nights, the appearance of the moon,

Recognized...

Task 1.2.3.

Match the poem M.V. Lomonosov “I thought for a long time and was in doubt for a long time...” with the poem below by M.Yu. Lermontov “When the yellowing field is agitated...”. What do both poems have in common?

Both poems are reflections of lyrical heroes about the meaning of human existence and the connection between man and nature.

Both poems are united by a common idea - man is able to know God only through harmony with nature. Having known nature, he knows God.

Kim 3.

Task 1.2.1.

Why does the lyrical hero of the poem V.A. Does Zhukovsky’s “The Inexpressible” often resort to rhetorical questions?

How do you understand the meaning of the last line of V.A.’s poem? Zhukovsky?

Compare the poem by V.A. Zhukovsky “The Inexpressible” with the poem below by A.A. Feta “How poor our language is! - I want and cannot...” What themes do both works bring together?

The same thought is heard in Fet’s poem “How poor our language is...”:

This cannot be conveyed to either friend or enemy,

What rages in the chest like a transparent wave,

In vain is the eternal languor of hearts...

Kim 4.

Task 1.2.1.

How does the poem “I remember a wonderful moment...” reveal Pushkin’s understanding of love?

The soul has awakened:
And then you appeared again,
Like a fleeting vision
Like a genius of pure beauty.

And the heart beats in ecstasy,

And for him they rose again

And deity and inspiration,

And life, and tears, and love.

Task 1.2.2.

Task 1.2.3.

Compare the poem by A.S. Pushkin “K***” (“I remember a wonderful moment...”) with the poem below by F.I. Tyutchev "K.B." What is common in the solution to the theme of love in both poems?

These poems are united by the theme of love. For both poets, love is poetry that takes possession of a person’s entire being, and all his internal forces come into motion:

I remember a wonderful moment:

You appeared before me,

Like a fleeting vision

Like a genius of pure beauty.

(A.S. Pushkin)

Like late autumn sometimes

There are days, there are times,

When suddenly it starts to feel like spring

And something will stir within us...

(F.I. Tyutchev)

The poem “I remember a wonderful moment...” and “I met you - and all the past...” are permeated with sadness, memories, and the happiness of a new meeting. Words:

And you have the same charm,

And that love is in my soul!..

And deity and inspiration,

And life, and tears, and love.

reveal the beauty and completeness of a person’s inner world when he loves.

Both poems belong to love lyrics, to the genre of lyrical work. The key, central word is the word “love” (“and the same love in my soul”, “and life, and tears, and love”).

Kim 5.

Task 1.2.1.

Task 1.2.2.

Task 1.2.3.

Kim 6.

Task 1.2.1.

Task 1.2.2.

Task 1.2.3.

Kim 7.

Task 1.2.1.

What is the role of epithets in the poem by F.I. Tyutchev “There are in the brightness of autumn evenings...”?

Task 1.2.2.

Task 1.2.3.

Kim 8.

Task 1.2.1.

Task 1.2.2.

Task 1.2.3.

Compare the poems of F.I. Tyutchev “Fountain” and “A kite rose from a clearing...”. What are the similarities between the ideas of the two poems?

Kim 9.

Task 1.2.1.

What mood prevails in the poem by S.A. Yesenin “Go you, Rus', my dear...”?

The poem “Go away, my dear Russia” is permeated with the poet’s feelings and emotions that overwhelm his heart. First of all, it is enlightened delight, pride for the homeland, Rus'.

Task 1.2.2.

Task 1.2.3.

Compare the poem by S.A. Yesenin “Go you, Rus', my dear...” with the poem below by M.Yu. Lermontov "Motherland". What is common and different in the attitude of poets to the Motherland?

Kim 10.

Task 1.2.1.

Task 1.2.2.

Task 1.2.3.

OPTION 2. LYRICS.

Kim 1.

Task 1.2.1.

Why are the reflections of the lyrical hero imbued with tragedy? "Stanzas". M.Yu. Lermontov.

"Stanzas" are the threshold of the poet's entire tragic life. That is why the reflection of the lyrical hero is imbued with such hopelessness and tragedy.

Sep 03 2015

The time of creative activity of Mikhail Yuryevich Lermontov fell on the period of brutal reaction in Russia, which followed the era of spiritual and moral upsurge in the first quarter of the 19th century. The situation in the country left its mark on the development of culture in those years. These were the years of student circles and societies of Stankevich, Herzen, Belinsky, on the one hand, and, on the other, vigilant police surveillance of every independently thinking person. In such an atmosphere, Lermontov developed a tragic worldview, which acquired the features of romanticism. The era imposed on the poet certain experiences that shaped his lyricism.

The motif of loneliness runs through all of Lermontov, from his earliest poems to his works of 1841. This feeling was caused by reflections on the imperfection of earthly life and the inevitability of the soul’s longing for other worlds. He writes about this in the 1831 poem “Angel”. ...And the sounds of heaven could not be replaced by the boring songs of the earth. upon closer examination, according to Lermontov, it turns out to be “an empty and stupid joke.”

For the lyrical hero, “there is no one to give a hand in a moment of spiritual adversity.” He doesn't believe in anything and feels only sadness. The hero goes out alone “on the road”. He hopes to achieve harmony in a state of eternal sleep - to forget himself, disappointed in its existence on earth.

Lermontov's lyrical hero is confident in the unreality during life, by definition, of earthly existence itself. This is one of the most important reasons for the tragedy of the poet’s worldview. “Both boring and sad,” 1840. And life, as you look around with cold attention, is such an empty and stupid joke...

“I go out alone on the road...”, 1841. I don’t expect anything from life, And I don’t feel sorry for the past at all; I'm looking for freedom and peace! I would like to forget myself and fall asleep! Added to this was Lermontov’s negative attitude towards his generation, which caused the lyrical hero’s desire to separate himself from society.

The poet, surrounded by a “motley crowd,” wants to “forget himself” in memories of an idealized childhood and youthful love. This time he is looking for harmony in the past years of his life. But this “dream” is as far from the reality in which the poet finds himself, as is possible peace after death. copying prohibited 2005 not only tries to escape from reality into other worlds.

He feels the gift of a prophet in himself and, therefore, sees his duty in igniting the “fighter for battle” with the imperfections of the surrounding life. The poet follows in the footsteps of his predecessor, who “revolted... against the opinions of the world.

Alone, as before... and killed!” At the end of his life, Lermontov stated: ...All my neighbors madly threw stones at me. The poet’s lyrical hero set himself an unusually difficult task, the fulfillment of which, as he knew, should lead to his death, and as a result he realized that the goal was practically unattainable (“the elders” still smile “proudly” and call the poet a fool).

Rejection of a generation whose representatives are not at all similar to the defenders of Moscow at Borodino (“Yes, there were people in our time, not like the current tribe...”). Lermontov's contemporaries are divided into “slaves” and “masters,” into “blue uniforms” and “people devoted to them.” Lermontov turns out to be an “exile” “in his homeland with the title of citizen.” The poet calls this a “terrible” fate, envying and at the same time sympathizing with the “cold” clouds that have no homeland and for which “there is no... exile.” The lyrical hero more than once refused “unwashed Russia,” but at the same time, the Motherland brought him “joy, unfamiliar to many.”

In the tragic relationship between Lermontov and Motherland, there were moments of joy, but the main tone was bitterness. The same rejection of the generation and disappointment in the existence of sincere feelings deprived Lermontov of friends and bright love. “Everyone is ready to share the fun: no one wants to share the sadness,” he writes in the 1830 poem “Loneliness,” not finding true friends and a lover. The poet says: “But it is impossible to love forever.” Recalling his hobbies, the lyrical hero admits: “...

I love the past suffering in you...” - and thanks “for the secret torment of passions, for the bitterness of tears, ... for the flattery of enemies and the slander of friends.” He is confident that “nobody is concerned about his fate.”

Just like the poet, the pine and palm tree from the poem “In the Wild North Stands Lonely...” and the cliff from the work of the same name are lonely. Lermontov conveyed his feelings by depicting pictures of nature. The poet understood that he was left without the traditional attachments of every person: without love for his homeland, without friends and without a lover. Realizing the tragedy of his position in weightlessness, the romantic finds the only point of support acceptable to himself and determined by the method: renouncing traditional values, Lermontov proclaims the cult of “absolute inner life” (Hegel).

“But, having lost my homeland and freedom, I suddenly found myself...” and “For secret thoughts, I neglected both the path of love and the path of glory...” The lyrical hero is trying to determine for himself the rules of inner life. He is afraid to merge with a generation that will “grow old in inaction.” The poet gives a detailed description of his vices in “Duma” (1838), blaming himself along with the others.

The lack of social activity leads the hero to confidence in the need for constant internal work and spiritual quest. Lermontov states this in his poetic declaration “Sail” in 1832. According to the poet, internal dissatisfaction is necessary for a full life: “And he, the rebellious one, asks for a storm...

“This confidence of the lyrical hero is another reason for the impossibility of a calm existence for him. Lermontov compares himself to a “lonely” and “rebellious” ship. But the word “ship” itself is not used: using an artistic device - metonymy, he introduces a much more poetic image-symbol - “sail”. His existence is described using metaphors: he “asks for a storm,” the waves “play” beneath him, the wind “whistles.” A bright picture is created by a rich color scheme (“white” sail, “blue” fog, “golden” ray of sun) and comparison (“a stream of lighter azure”).

Lermontov's life was brilliantly depicted in his poetic declaration. The poet’s “rebellion” extends not only to relationships with light. The lyrical hero is ready to stand in opposition even to God. His work is inspired by a demon, whose “element” is “a collection of evils”: And the muse of gentle inspirations Fears unearthly eyes.

The connection with this formidable force is painful for the lyrical hero. He realizes: And the proud demon will not lag behind, As long as I live, from me, He will never give me happiness. Mysterious are those speeches whose meaning is “dark or insignificant,” but the poet knows that he must answer them. He does not dare and does not want to ask “the Mother of God for his... deserted soul, for the soul of a wanderer in the light of the rootless,” but nevertheless enters into dialogue with heaven.

The lyrical hero prays for intercession for the “innocent maiden,” whom he cannot protect with his dark power. The poet himself painfully feels his isolation from the heavenly light. He tries to come to an agreement with God: “But extinguish this wonderful flame... then I will turn to you again on the narrow path of salvation.”

Only a decade later, the lyrical hero receives relief when reading a prayer: “As if a burden has rolled away from the soul, doubt is far away...” But Lermontov spent most of his life in a tragic confrontation with heaven, in the “darkness of the grave earth with its passions,” from which the blood “quenched” prematurely , as noted in the 1829 Elegy. Motifs characteristic of Lermontov’s work and romanticism in general were reflected in the poem “Mtsyri”. The main character of this work is both a lyrical hero and a narrator.

Mtsyri is lonely, his ebullient and activity-hungry nature is contrasted with the stuffy atmosphere of the monastery, he yearns for his homeland and a full life, he is not satisfied with the present and either remembers the past or strives for the future. Lermontov poeticizes his hero’s struggle for freedom from monastic rules and, more broadly, from the conventions of life. Mtsyri differs from the lyrical hero of the poet’s poems in greater strength, brightness and activity of struggle.

He is “natural”, akin to the exotic Caucasian nature, close to the elements, he is clearly a heroic and idealized character. Mtsyri dies, coming to terms with the conditions of the surrounding reality. But this is the peace of hopelessness.

In Lermontov's lyrics there are several poems about real harmony in this life. The most striking of them is “When the yellowing field is agitated...” (1837). The syntactic construction of the period allows the poet to give a detailed description of nature in the first part and then conclude: ...Then the anxiety of my soul is humbled, Then the wrinkles on my brow disperse, - And I can comprehend on earth, And in heaven I see God.

In the last years of his life, Lermontov, along with stating his disappointment in everything, appears a motive for believing in certain values, including the existence of a kindred soul. Thus, in the 1841 poem “Dream,” the poet dreams of a “young wife” whose soul sees his suffering. Over the years, Lermontov gets older and his lyrical hero more and more resembles the harmonious lyrical hero of Pushkin. But in general, the poet’s work is imbued with the romantic tragedy of absolute loneliness, struggle with everything around him, rejection of reality, and incomprehensibility.

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“The tragic attitude of the lyrical hero M. Lermontov

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Loneliness raised to absolute

On the way to realism

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