Analysis of the poem “Who should live well in Russia” (Nekrasov N. A.)
Chelyabinsk Law College
Department of General Humanitarian and Socio-Economic Disciplines
Research work
in the discipline "Literature"
Folklore motifs in N.A. Nekrasov’s poem “Who should live well in Russia”
Student
Gr. T-1-08, economic department: "_____" Barabash V.A. __ 2009
Teacher: "_____" Akhmetshina E.Z. 2009
Chelyabinsk
2009
Introduction
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Chapter 1. Folklore
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Chapter 2. Genres of folklore
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Chapter 3
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Chapter 4
Folklore motifs in the work of N.A. Nekrasov "Who should live well in Russia"
______________________________ ______________________________ _____________9
Conclusion
______________________________ ______________________________ _____________18
Bibliography
______________________________ ______________________________ ____________
19
Introduction
The topic "Folklore in the work of Nekrasov" has repeatedly attracted the attention of researchers. Nevertheless, I consider it useful to return to it once more. In numerous studies, the attention of researchers was drawn mainly to the study of textual or stylistic coincidences of folklore texts and texts belonging to Nekrasov, to the establishment of "borrowings" and "sources", etc. Until now, however, the topic has not been raised in the literary plan . After all, we are dealing with an artist-master. It goes without saying that this master artist, a great poetic individual, is at the same time a social figure. Nekrasov is a poet of revolutionary democracy, and this determines the nature of his poetry. And of course, it would be interesting to explore how Nekrasov uses folklore material? What goals does he set for himself? What kind of folklore material does Nekrasov take (not in the sense of an exact definition of sources, but in the sense of the qualitative, artistic and social characteristics of this material)? What does he do with this material (that is, with what compositional techniques does he introduce it, how much and how does he change it)? What is the result of his work (because this result may not coincide with the subjective goals of the artist, i.e. the artist may not their tasks)? This is to be clarified in the course of the study.
Topic
Folklore motifs in N.A. Nekrasov’s poem “Who should live well in Russia”. Target The work consists in finding and classifying folklore motifs in the work of the revolutionary democrat of the sixties, the famous Russian poet N.A. Nekrasov “Who in Russia should live well”.
Tasks To acquaint listeners with the definition of "folklore", to tell about its goals and objectives. Briefly reveal the main genres of folklore. Tell the story of the creation of the poem "To whom in Russia to live well."
Investigate and classify folklore motifs in the poem "Who lives well in Russia." To note the goals of Nekrasov's use of folk art in his works, his attitude towards it, as well as to understand what methods and methods the author uses to weave folklore into the narrative and what result he is trying to achieve.
Relevance Of course, the theme of folklore motifs in the poem "To whom it is good to live in Russia" is relevant to this day. Folklore in this work helps us to better understand the life of the difficulties of people, their way of life, thoughts and moods. Although the way of life has changed now (there is no serfdom, people have equal rights), we still face some problems at the present time. And oral folk art, as in those days, helps to distract from the burden of problems of everyday life. Hypothesis Meaning and methods of using folklore in the work of Nekrasov. object studies are the motives of oral folk art in the poem by N.A. Nekrasov “Who in Russia should live well”.
Subject The method of comparative analysis is used in the work. Literature Description Many collections of oral folk art of various authors were involved in the work: Rybnikov, Barsov, Shein and others. They helped to understand exactly how Nekrasov modified folklore texts, including them in his works. Reviews and criticism of the poem, articles analyzing the use of folklore in Nekrasov's work and literature in general were also involved.
Folklore
Folklore is called verbal art, which includes proverbs, ditties, fairy tales, legends, myths, tongue twisters, riddles, heroic epics, epics, legends, etc.
The word itself came to us from the Old English language and is translated as "folk wisdom". And this is profoundly true. After all, folklore embodies folk experience, traditions, ideals, worldview, that is, folk wisdom is really conveyed.
But folklore is not only folk wisdom. It is also a manifestation of the soul of the people, its self-consciousness. Each work is an expression of the life of the people, their history and way of life.
Life has never been easy for most people, and it still is, and it inevitably will always be. Many people have to work hard, routinely, earning themselves only a small bread, a tolerable existence for themselves and their loved ones. And people have long noticed that it is necessary to distract themselves, those around them, colleagues in misfortune from everyday work with something fun or distracting attention from topical everyday life and unbearable conditions of hard and low-paid work.
Folklore created by the people reveals the philosophy of the people, their undying faith in justice and happiness, in the victory of good over evil. The age-old ideas of folklore for the creativity of all peoples without exception, but at the same time, each people expresses general ideas in their national forms, which have evolved over the centuries and reflect the features of life and its history. For example, the hero of Russian folk tales Ivan the Fool, Emelya , the characters of the folk theater Russian Petrushka or Italian Pulcinello always triumph over their enemies, important ranks and titles, often defeat even the seemingly invincible death itself.
The huge wealth of the images presented, the variety of visual means, the expressiveness of the language, laconism - these are the distinctive qualities of folk art. Since even a very skilled writer is not able to catch up with the diverse and versatile folk fantasy, and the number of various words and their successful intricacies honed over the centuries. The artistic and aesthetic significance of folklore is very great.
Folklore, its artistic perfection, the significance of meaningful forms, like honey, attracts numerous composers, artists and writers. Many managed to inscribe themselves in history by using folklore in their works in a timely and competent manner, borrowing free of charge and learning from the people artistic skills that cannot be measured by experience, the quantity and quality of fantasy. Many people know the names of the masters of the pen who grew up on a prepared
centuries on the basis of folklore. The German poet Johann Wolfgang Goethe created his immortal Faust on the basis of legends, and the Danish storyteller Hans Christian Andersen retold many folk tales to children and adults. Liked to turn to the disinterested help of folklore and Russian writers A.S. Pushkin, V.V. Mayakovsky, Maxim Gorky, N.A. Nekrasov and others (very many).
Genres of folklore
Mystery - from the old Russian "guess", which meant - to think. In a riddle, a subject description is given of a phenomenon, for recognition - guessing of which reflection is required. The riddle makes you comprehend the language of metaphor, learn to play with traditional images. Proverb is a genre of folklore. It is a logically complete phrase or a figurative aphoristic saying. Proverb always carries an instructive meaning and in most cases has a rhythmic organization. Example proverbs: "Do not count your chickens before they are hatched". Proverb- genre of folklore. AT proverb there is a certain complete meaning, unlike the proverb. Proverb - a walking expression that has not developed to a full proverb, a new image that replaces the usual word (for example, “does not knit a bast” instead of “drunk”, “I didn’t invent gunpowder” instead of “fool”, “I pull the strap”). Story - from "say"; specific, traditional narrative. The term exists only in Russian and German, in other cultures this form is referred to as a myth. In a number of studies it is designated as "small mythology". In folk culture - a form of worldly wisdom. Chastushki - a term of folk origin, introduced into literary use by G.I. Uspensky. and united the local names of ditties - gimmicks, choruses, matani, pribaski, etc. CONSPIRACY - one of the oldest genres of folklore, embodied in an artistic form the archaic ideas of our ancestors. In the broadest sense of the word, a conspiracy is a verbal formula that has a magical meaning. Russian conspiracies in Siberia are often called like this: slander, amulets, drying, dryness, whispering, words, etc. Legend (from cf.- lat. legenda"collection of liturgical passages for daily service") - one of the varietiesnon-fabulous prose folklore. poetic tradition about some historical event. In a figurative sense, it refers to the glorious, admirable events of the past. Patter - a short syntactically correct phrase in any language with an artificially complicated articulation . Tongue twisters contain similar in sound, but different phonemes (for example, c and w) and combinations of phonemes that are difficult to pronounce. Often contain alliterations and rhymes . Used for training diction and pronunciation.
The history of the creation of the poem "To whom it is good to live in Russia"
Nekrasov gave many years of his life to work on a poem, which he called his "favorite brainchild." “I decided,” said Nekrasov, “to state in a coherent story everything that I know about the people, everything that I happened to hear from their lips, and I started “Who should live well in Russia“. It will be the epic of modern peasant life.” The writer accumulated material for the poem, as he admits, “word by word for twenty years.” Death interrupted this gigantic work. The poem remained unfinished. Shortly before his death, the poet said: “One thing that I deeply regret is that I didn’t finish my poem “Who Lives Well in Russia.” Nekrasov began work on the poem in the first half of the 60s of the XIX century. The manuscript of the first part of the poem was marked by Nekrasov in 1865. In that year the first part of the poem had already been written, although it had evidently begun a few years earlier. The mention in the first part of the exiled Poles (chapter "Landowner") allows us to consider 1863 as the date before which this chapter could not be written, since the suppression of the uprising in Poland dates back to 1863-1864. However, the first sketches for the poem could have appeared even earlier . An indication of this is contained, for example, in the memoirs of G. Potanin, who, describing his visit to Nekrasov’s apartment in the autumn of 1860, conveys the following words of the poet: poem "To whom in Russia it is good to live". It did not appear in print for a long time after that.” Thus, it can be assumed that some images and episodes of the future poem, the material for which had been collected for many years, arose in the creative imagination of the poet and were partially embodied in poems earlier than 1865, which is dated the manuscript of the first part of the poem. Nekrasov began to continue his work only in the 70s, after a seven-year break. The second, third and fourth parts of the poem follow one after another at short intervals: "Last Child" was created in 1872, "Peasant Woman" - in July-August 1873, "Feast - for the whole world" - in the autumn of 1876. Publication of the poem Nekrasov began shortly after finishing work on the first part. Already in the January book of Sovremennik for 1866, the prologue of the poem appeared. The printing of the first part lasted for four years. Fearing to shake the already precarious position of Sovremennik, Nekrasov refrained from publishing the subsequent chapters of the first part of the poem. Nekrasov was afraid of censorship, which began immediately after the release of the first chapter of the poem ("Pop"), published in 1868 in the first issue of the new Nekrasov magazine "Domestic Notes". Censor A. Lebedev gave the following description of this chapter: “In the aforementioned poem, like his other works, Nekrasov remained true to his direction; in it, he tries to present the gloomy and sad side of the Russian person with his grief and material shortcomings ... in it there are ... places that are sharp in their indecency. Although the Censorship Committee allowed the book “Notes of the Fatherland” to be printed, it nevertheless sent a disapproving opinion about the poem “Who Lives Well in Russia” to the highest censorship authority. The subsequent chapters of the first part of the poem were published in the February issues of “Notes of the Fatherland” for 1869 (“Country Fair” and “Drunken Night”) and 1870 (“Happy” and “Landowner”). The entire first part of the poem appeared in print only eight years after it was written. content ... is in the nature of a libel for the entire nobility. ”The next part of the poem,“ Peasant Woman ”, created by Nekrasov in the summer of 1873, was published in the winter of 1874 in the January book “Notes of the Fatherland.” Nekrasov never saw a separate edition of the poem during his lifetime. In the last year of his life, Nekrasov, having returned seriously ill from the Crimea, where he had basically completed the fourth part of the poem - "Feast - for the whole world", with amazing energy and perseverance entered into combat with censorship, hoping to print "Feast ...". This part of the poem was especially virulently attacked by the censors. The censor wrote that he finds “the entire poem“ A feast for the whole world ”is extremely harmful in its content, since it can arouse hostile feelings between the two estates, and that it is especially offensive to the nobility, who so recently enjoyed landlord rights ... "However, Nekrasov did not stop fighting censorship. Bedridden by illness, he stubbornly continued to seek the publication of "The Feast ...". He alters the text, shortens it, crosses it out. “Here it is, our craft as a writer,” complained Nekrasov. - When I began my literary activity and wrote my first thing, I immediately met with scissors; 37 years have passed since then, and here I am, dying, writing my last work, and again I encounter the same scissors! Having “spoiled” the text of the fourth part of the poem (as the poet called the alteration of the work for the sake of censorship), Nekrasov counted on permission. However, "Feast - for the whole world" was again banned. “Unfortunately,” recalled Saltykov-Shchedrin, “it’s almost useless to bother: everything is so full of hatred and threats that it’s hard to approach even from a distance.” But even after that, Nekrasov still did not lay down his arms and decided to “approach”, as a last resort, the head of the Main Directorate for Censorship V. Grigoriev, who, back in the spring of 1876, promised him “his personal intercession” and, according to rumors, came down through F. Dostoevsky, allegedly considered "Feast - for the whole world" "quite possible to be printed." Nekrasov intended to bypass censorship altogether, with the permission of the tsar himself. To do this, the poet wanted to use his acquaintance with the Minister of the Court, Count Adlerberg, and also resort to the mediation of S. Botkin, who was at that time the court physician (Botkin, who treated Nekrasov, was dedicated to "Feast - for the whole world"). Obviously, it was precisely for this case that Nekrasov inserted into the text of the poem “with gnashing of teeth” the well-known lines dedicated to the tsar “Glory to the people who gave freedom!”. We do not know whether Nekrasov took real steps in this direction or abandoned his intention, realizing the futility of the hassle. "Feast - for the whole world" remained under a censorship ban until 1881, when it appeared in the second book of "Notes of the Fatherland", however, with large reductions and distortions: the songs “Merry”, “Corvee”, “Soldier”, “There is an oak deck ...” and others were omitted. Most of the excerpts from "Feast - for the Whole World" thrown out by censorship were first made public only in 1908, and the entire poem, in an uncensored edition, was published in 1920 by K. I. Chukovsky. The poem "Who Lives Well in Russia" in its unfinished the form consists of four separate parts, arranged in the following order, according to the time of their writing: part one, consisting of a prologue and five chapters; "The Last"; "Peasant Woman", consisting of a prologue and eight chapters; "Feast - for the whole world." From Nekrasov's papers it is clear that according to the plan for the further development of the poem, it was supposed to create at least three more chapters or parts. In one of them, tentatively called by Nekrasov "Smertushka", it was supposed to be about the stay of seven peasants on the Sheksna River, where they fall in the midst of an indiscriminate death of cattle from anthrax, about their meeting with an official. Quoting several verses from the future chapter, Nekrasov writes: “This is a song from the new chapter “To Whom It Is Good to Live in Russia.” The poet began collecting materials for this chapter in the summer of 1873. However, it remained unwritten. Only a few prose and poetic rough passages have survived. It is also known about the poet’s intention to tell about the arrival of the peasants in St. Petersburg, where they were supposed to seek access to the minister, and to describe their meeting with the tsar on a bear hunt. In the last lifetime edition of “Poems” by N. A. Nekrasov (1873-1874) it is good to live in Russia” is printed in the following form: “Prologue; Part One" (1865); "Last Child" (From the second part of "Who Lives Well in Russia") (1872); “Peasant Woman” (From the third part of “Who Lives Well in Russia”) (1873).
Folklore motifs in the poem "To whom it is good to live in Russia"
First of all, let us agree that by folklore we will understand the features of traditional oral poetic creativity, and not the features of lively, colloquial peasant speech. When Nekrasov wrote, for example:
Cursing swearing,
No wonder they get stuck
In each other's hair...
Look - they've got it!
Roman hits Pakhomushka,
Demyan hits Luka,
And two brothers Gubina
Ironing the rights of the hefty,
And everyone screams!
then it was very “folklore” from the point of view of an intelligent reader and, of course, quite understandable and accessible to a peasant reader, but there is no need to speak of folklore here: this is not peasant poetry, but a peasant language. The poem “To whom it is good to live in Russia” is not completely homogeneous in character: if the “Prologue”, the first part, “The Peasant Woman” and “Last Child” are designed almost entirely for the peasant reader, then already in the part “A Feast for the Whole World” there are chapters and episodes presented in a completely different way (this is especially true of chapter IV - “Good time - good songs”). For
illustrations of this can be compared with at least two songs from this part. In the chapter ("Bitter Time - Bitter Songs") there is such a song ("Corvee"):
Poor, unkempt Kalinushka,
Nothing for him to flaunt
Only the back is painted
Yes, you don’t know behind a shirt ... Etc.
In chapter IV, you can take one of Grisha's songs:
In moments of despondency, oh motherland!
I am thinking ahead.
You are destined to suffer a lot,
But you won't die, I know... Etc.
Two different styles of Nekrasov (relatively speaking, "folk" and "civilian"), it seems to me, are manifested quite clearly here. However, the poem is mostly written in the "folk" style. In this regard, there is also a wide use of folklore in it. Folklore and fairy-tale material, of course, entered the plot basis of the poem. So, a talking warbler, interfering in a dispute between men and promising a ransom for a chick, is a fabulous image. A fairy tale motif is also a self-assembled tablecloth, although its use in Nekrasov's poem is completely original: it is supposed to feed and clothe the peasants during their wanderings.
The fabulous form of plot development chosen by Nekrasov opened up the widest possibilities for him and made it possible to give a number of vivid realistic pictures of Russian reality; "fabulousness" did not interfere with realism in essence and at the same time helped to create a number of sharp clashes (otherwise it is very difficult
would be to carry out, for example, a meeting of the peasants with the king). In the future, the actual folklore material Nekrasov especially widely uses in the part "Peasant Woman". However, various folklore genres are not used equally. Particularly widely used here are, firstly, funeral lamentations (according to Barsov's collection "Lamentations of the Northern Territory"), secondly, the bride's wedding lamentations, and thirdly, lyrical family songs. Nekrasov takes mainly works of a lyrical nature, because it was in these works that the moods, feelings and thoughts of the peasantry were most clearly and effectively reflected. But Nekrasov often turns these lyrical works into an epic narrative, moreover, he fuses them into one whole, thereby creating such a complex complex that does not and cannot exist in folklore. Nekrasov inserts some songs into the narrative precisely as songs and sometimes cites them with absolute accuracy. Thus, Chapter I (“Before Marriage”) is built almost entirely on wedding lamentations from Rybnikov's collection. In this regard, it is appropriate to draw the following parallel, which allows us to draw some conclusions.
Nekrasov's chapter ends like this: The dear father ordered.
Blessed by mother
Parents put
To the oak table
With the edges of the spell poured:
“Take a tray, stranger guests
Take it with a bow!”
For the first time I bowed -
Frisky legs shuddered;
The second I bowed -
Faded white face;
I bowed for the third
And the will rolled down
From a girl's head...
From Rybnikov: Commanded my sir-father,
Bless my mother...
... Parents put
To the oak table in the capital,
To green wine in pourers.
I stood at the oak table, -
There were gilded trays in the runes.
There were crystal cups on the trays,
Drinking green wine in cups
Villains foreign strangers,
These guests are unfamiliar.
And subdued her young little head: The first time I bowed, -
My volushka rolled off the head,
Another time I bowed, -
My white face faded
The third time I bowed, -
Frisky little legs trembled,
The red girl shamed her kind-tribe ...
Undoubtedly, Nekrasov used this particular text, since the proximity
is quite obvious here. But the author did not use the material mechanically.
We see in Nekrasov an extraordinary compression of the entire text by the number of lines. Except
moreover, and each line in Nekrasov is shorter than the corresponding folklore line
(for example, Rybnikov’s “To the oak table in the capital”, Nekrasov’s “K
oak table). This gives Nekrasov's verse a great emotional
tension (folk meter is slower and more epic) and more
energy (in particular, masculine monosyllabic
clauses used by Nekrasov, while in folklore
they are not in the text). The rearrangement made by Nekrasov is characteristic: in the folklore text, at the first bow, the will rolled away, at the second, the face faded, at the third, the bride's legs quivered; Nekrasov rearranges these moments
(at first “frisky legs trembled”, then “the white face faded”, and,
finally, “the will rolled off the girl’s head”) and thus gives the presentation
great power and logic. In addition, Nekrasov has the words "And the will"
rolled off a girl's head "(with a strong male ending) complete
Matrena Timofeevna's story about a girl's life, while in folklore
lamentation further goes a long continuation, which weakens the meaning
this motive. So the master artist gives great strength and significance
the material to which he refers.
In chapter II (“Songs”), song material is presented precisely in the form of songs,
illustrating the position of a married woman. All three songs (“Stand by the court
breaks legs”, “I sleep as a baby, dozing” and “My hateful husband
rises") are known from folklore records (in particular, analogies to
the first and the third are in Rybnikov's collection, the second - in Shane). First
the song is apparently built on the basis of Rybnikov's text, but significantly
shortened and refined. Nekrasov gave the second song, apparently, completely
exactly (or almost exactly), but without the last verse, in which the husband affectionately
turns to his wife: thus, Nekrasov’s mitigation of the topic disappears. Third
the song is again given very precisely, but again without the last part, in which
the wife submits to her husband; and here Nekrasov avoids a softening ending. Except
Moreover, this song in the records is called a round dance and is a game: a guy,
depicting a husband, jokingly hits the girl-wife with a handkerchief, and after the last
couplet picks her up from her knees and kisses her (the game ends with the traditional
round dance kiss). Nekrasov gives this song as a household and
she reinforces the story of Matryona Timofeevna about the beatings of her husband. This clearly
Nekrasov's desire to show precisely the plight of
peasantry and, in particular, the peasant woman.
In the same chapter, a description of the beauty of Demushka (“How written Demushka was”)
relies on the text of the glorification of the groom; and here Nekrasov produces
significant reduction in text. Chapter IV (“Demushka”) is largely built on the basis of 9 funeral lamentations by Irina Fedosova (from the collection of Barsov). Often Nekraso uses a specific lamentation text; but it is the text that is important here,
which in itself allows you to expand the picture of peasant life. Except
Moreover, we learn in this way about the fact of the existence of funeral lamentations in
peasant environment. This use of folklore, in turn, has
double meaning: firstly, the author selects the strongest and brightest in
artistically, data and themes increase emotionality and
figurativeness of his work, and secondly, folklore
works makes it more accessible to the peasant (and in general
democratic) audience, namely this orientation towards democratic
audience is typical for Nekrasov. Especially significant here
borrowings from "Lament for the Elder", one of the most acute in the social
respect. At the same time, Nekrasov freely handles the material and, together with
it modifies it somewhat. Particularly striking is the comparison
curses to the judges at Nekrasov and Irina Fedosova. Irina Fedosova
ends Lament for the Elder thus:
You will fall, mourn my tears,
You will not fall on the water, not on the ground.
You are not on God's church, on a construction site,
You will fall, mourn my tears,
etc.................
Kurganova Dina Yurievna
This work is due to increased attention to the work of N.A. Nekrasov. It has been used by researchers for many generations. But each “generation” has its own approach to a seemingly long-studied problem. For example, the topic of using folklore motifs in the poem “Who Lives Well in Russia” is still relevant to this day. It is folk art that helps to better understand the way of peasant life in the 19th century, their way of life, thoughts and moods.
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MUNICIPAL STATE EDUCATIONAL INSTITUTION "SADOVSKAYA SECONDARY EDUCATIONAL SCHOOL" OF BYKOVSKY MUNICIPAL DISTRICT OF VOLGOGRAD REGION
Research work in literature
on the topic
"Folklore motifs in the poem
N.A. Nekrasova “Who should live well in Russia”.
Completed by: 11th grade student
Kurganova Dina Yurievna
Head: teacher of Russian language and literature
Zhivak N.N.
Introduction………………………………………………………………………………………2 p.
Chapter 1.
The history of the creation of the poem “To whom it is good to live in Russia”………………………………..4 p.
Chapter 2
Folklore motifs in the work of N.A. Nekrasov "Who should live well in Russia" ..7p.
Conclusion……………………………………………………………………………......18 p.
References………………………………………………………………………….19 p.
Introduction
The topic "Folklore in the work of Nekrasov" has repeatedly attracted the attention of researchers. Nevertheless, I consider it useful to return to it once more. In numerous studies, the attention of researchers was drawn mainly to the study of textual or stylistic coincidences of folklore texts and texts belonging to Nekrasov, to the establishment of "borrowings" and "sources", etc. Until now, however, the topic has not been raised in the literary plan . After all, we are dealing with an artist-master. It goes without saying that this master artist, a great poetic individual, is at the same time a social figure. Nekrasov is a poet of revolutionary democracy, and this determines the nature of his poetry. And of course, it would be interesting to explore how Nekrasov uses folklore material? What goals does he set for himself? What kind of folklore material does Nekrasov take (not in the sense of an exact definition of sources, but in the sense of the qualitative, artistic and social characteristics of this material)? What does he do with this material (i.e., with what compositional techniques does he introduce it, to what extent and how does he change it)? What is the result of his work? This remains to be seen in the course of the study.
Relevance this work is due to increased attention to the work of N.A. Nekrasov. It has been used by researchers for many generations. But each “generation” has its own approach to a seemingly long-studied problem. For example, the topic of using folklore motifs in the poem “Who Lives Well in Russia” is still relevant to this day. It is folk art that helps to better understand the way of peasant life in the 19th century, their way of life, thoughts and moods.
In this regard, it was put forwardworking hypothesis, which consists in the fact that the inclusion of N.A. Nekrasov in the poem of folklore motifs is ambiguous and requires a comprehensive consideration of the language of the poem.
Research topic:“Folklore motifs in the poem by N.A. Nekrasov “Who in Russia should live well”.
Object of study:N.A. Nekrasov’s poem “Who should live well in Russia”.
Objective: identify and classify folklore motifs in the work of the Russian poet N.A. Nekrasov “Who should live well in Russia”.
To achieve this goal, it is necessary to solve the following
Tasks:
- Consider the history of the creation of the poem "To whom in Russia to live well."
- To note the goals of Nekrasov's use of folk art in his works, his attitude towards him
- Understand what ways and methods the author uses to introduce folklore into the narrative and what result he is trying to achieve.
- To classify folklore motifs in the poem "Who lives well in Russia".
Object of study are the motifs of oral folk art in the poem by N.A. Nekrasov “Who should live well in Russia”.
During the study, methods such as observation, description, comparison were used.
Practical significance.The results of the study can be used in the study of the work of N.A. Nekrasov in the school literature course, both in the classroom and in extracurricular activities, as well as for further research in this area.
CHAPTER 1
The history of the creation of the poem "To whom it is good to live in Russia"
The crowning achievement of Nekrasov's work is the folk poem "Who Lives Well in Russia", written in the 60s and 70s of the 19th century. The poem can be called a panorama of peasant Russia. “I decided,” said Nekrasov, “to state in a coherent story everything that I know about the people, everything that I happened to hear from their lips, and I started “Who should live well in Russia.” It will be the epic of modern peasant life.”
From 1963 until the last days, Nekrasov worked on a poem. He sought to most fully show in it the main features of modern reality. The writer accumulated material for his "brainchild", according to his confession, "by word of mouth for twenty years." Death interrupted this gigantic work. The poem remained unfinished. Shortly before his death, the poet said: “One thing that I deeply regret is that I did not finish my poem “Who in Russia should live well.” The manuscript of the first part of the poem was marked by Nekrasov in 1865. In that year the first part of the poem had already been written, although it had evidently begun a few years earlier. The mention in the first part of the exiled Poles (chapter "Landowner") allows us to consider 1863 as the date before which this chapter could not be written, since the suppression of the uprising in Poland refers to 1863-1864. However, the first sketches for the poem could have appeared earlier. An indication of this is contained, for example, in the memoirs of G. Potanin, who, describing his visit to Nekrasov’s apartment in the autumn of 1860, conveys the following words of the poet: “I ... wrote for a long time yesterday, but didn’t finish writing a little, I’ll finish now ...” These were the outlines of his poem "Who in Russia to live well." Thus, it can be assumed that some images and episodes of the future poem, the material for which was collected over many years, arose in the creative imagination of the poet and were partially embodied in verses earlier than 1865, which dated the manuscript of the first part of the poem. Nekrasov began to continue his work only in the 70s, after a seven-year break. The second, third and fourth parts of the poem follow one after another at short intervals: "Last Child" was created in 1872, "Peasant Woman" - in July-August 1873, "Feast - for the whole world" - in the autumn of 1876. The publication of the poem Nekrasov began shortly after the completion of work on the first part. Already in the January book of Sovremennik for 1866, the prologue of the poem appeared. The printing of the first part lasted for four years. Fearing to shake the already precarious position of Sovremennik, Nekrasov refrained from publishing the subsequent chapters of the first part of the poem. Nekrasov was afraid of censorship persecution, which began immediately after the release of the first chapter of the poem ("Pop"), published in 1868 in the first issue of the new Nekrasov magazine "Domestic Notes". Censor A. Lebedev gave the following description of this chapter: “In the aforementioned poem, like his other works, Nekrasov remained true to his direction; in it, he tries to present the gloomy and sad side of the Russian person with his grief and material shortcomings ... in it there are ... places that are sharp in their indecency. The censorship committee, although it allowed the book “Notes of the Fatherland” to be printed, nevertheless sent a disapproving opinion about the poem “Who Lives Well in Russia” to the highest censorship authority. The subsequent chapters of the first part of the poem were published in the February issues of Notes of the Fatherland for 1869 (Country Fair and Drunken Night) and 1870 (Happy and Landowner). The entire first part of the poem appeared in print only eight years after it was written. The publication of The Last One (Notes of the Fatherland, 1873, No. 2) caused new, even greater cavils from the censors, who believed that this part of the poem “is distinguished by ... an extreme disgrace of content ... has the character of a libel on the entire nobility.” The next part of the poem, “Peasant Woman”, created by Nekrasov in the summer of 1873, was published in the winter of 1874 in the January book “Notes of the Fatherland”. Nekrasov never saw a separate edition of the poem during his lifetime. In the last year of his life, Nekrasov, having returned seriously ill from the Crimea, where he had basically completed the fourth part of the poem - "Feast - for the whole world", with amazing energy and perseverance entered into combat with censorship, hoping to print "Feast ...". This part of the poem was especially virulently attacked by the censors. The censor wrote that he finds “the entire poem“ A feast for the whole world ”is extremely harmful in its content, since it can arouse hostile feelings between the two estates, and that it is especially offensive to the nobility, who so recently enjoyed landlord rights ... "However, Nekrasov did not stop fighting censorship. Bedridden by illness, he stubbornly continued to seek the publication of "The Feast ...". He alters the text, shortens it, crosses it out. “Here it is, our craft as a writer,” complained Nekrasov. - When I began my literary activity and wrote my first thing, I immediately met with scissors; 37 years have passed since then, and here I am, dying, writing my last work, and again I encounter the same scissors! Having “spoiled” the text of the fourth part of the poem (as the poet called the alteration of the work for the sake of censorship), Nekrasov counted on permission. However, "Feast - for the whole world" was again banned. “Unfortunately,” recalled Saltykov-Shchedrin, “it’s almost useless to bother: everything is so full of hatred and threats that it’s hard to approach even from a distance.” But even after that, Nekrasov still did not lay down his arms and decided to “approach”, as a last resort, the head of the Main Directorate for Censorship V. Grigoriev, who in the spring of 1876 promised him "his personal intercession" and, according to rumors that came through F. Dostoevsky, allegedly considered "A Feast - for the Whole World" "quite possible for publication." Nekrasov intended to bypass censorship altogether, with the permission of the tsar himself. To do this, the poet wanted to use his acquaintance with the Minister of the Court, Count Adlerberg, and also resort to the mediation of S. Botkin, who was at that time the court physician (Botkin, who treated Nekrasov, was dedicated to "Feast - for the whole world"). Obviously, it was precisely for this case that Nekrasov inserted into the text of the poem “with gnashing of teeth” the well-known lines dedicated to the tsar “Glory to the people who gave freedom!”. We do not know whether Nekrasov took real steps in this direction or abandoned his intention, realizing the futility of the hassle. “Feast - for the whole world” remained under a censorship ban until 1881, when it appeared in the second book of “Notes of the Fatherland”, albeit with large reductions and distortions: the songs “Merry”, “Corvee”, “Soldier”, “ There is an oak deck ... ”and others. Most of the excerpts from The Feast - for the Whole World, thrown out by censorship, were first made public only in 1908, and the entire poem, in an uncensored edition, was published in 1920 by K. I. Chukovsky. The poem “To whom it is good to live in Russia” in its unfinished form consists of four separate parts, arranged in the following order, according to the time of their writing: part one, consisting of a prologue and five chapters; "The Last"; "Peasant Woman", consisting of a prologue and eight chapters; “A feast for the whole world.” From Nekrasov's papers it is clear that according to the plan for the further development of the poem, it was supposed to create at least three more chapters or parts. In one of them, tentatively called by Nekrasov "Smertushka", it was supposed to be about the stay of seven peasants on the Sheksna River, where they fall in the midst of an indiscriminate death of cattle from anthrax, about their meeting with an official. Citing several verses from the future chapter, Nekrasov writes: “This is a song from the new chapter “Who Lives Well in Russia.” The poet began to collect materials for this chapter in the summer of 1873. However, she remained unwritten. Only a few prose and verse drafts survive. It is also known about the poet's intention to tell about the arrival of the peasants in St. Petersburg, where they had to seek access to the minister, and to describe their meeting with the tsar on a bear hunt. In the last lifetime edition of “Poems” by N. A. Nekrasov (1873-1874), “Who should live well in Russia” is printed in the following form: “Prologue; Part One" (1865); "Last Child" (From the second part of "Who Lives Well in Russia") (1872); “Peasant Woman” (From the third part of “Who Lives Well in Russia”) (1873).
CHAPTER 2
Folklore motifs in the poem "To whom it is good to live in Russia"
In "To whom it is good to live in Russia", the artistic principles of folk art are especially widely used. Not only the song rhythm of the entire poem is clearly traced, but also numerous inclusions of songs, both reworked folklore ones and those belonging to Nekrasov himself. The illustrations of this can be compared to at least two songs from this part. In the chapter ("Bitter Time - Bitter Songs") there is such a song ("Corvee"):
Poor, unkempt Kalinushka,
Nothing for him to flaunt
Only the back is painted
Yes, you don’t know behind a shirt ... Etc.
In chapter IV, you can take one of Grisha's songs:
In moments of despondency, oh motherland!
I am thinking ahead.
You are destined to suffer a lot,
But you won't die, I know... Etc.
Two different styles of Nekrasov (relatively speaking, "folk" and "civilian"), it seems to me, are manifested quite clearly here. However, the poem is mostly written in the "folk" style. Both the language and the very structure of the images go back entirely to folk poetry. Folklore and fairy-tale motifs entered the plot basis of the poem. So, a talking warbler who intervenes in a dispute between men and promises a ransom for a chick is a fabulous image, or, for example, a self-assembled tablecloth. Although its use in Nekrasov's poem is completely original: she must feed and clothe the peasants during their wanderings.
The fabulous form of plot development chosen by Nekrasov opened up the widest possibilities for him and made it possible to give a number of vivid realistic pictures of Russian reality; the "fabulousness" did not interfere with realism in essence and at the same time helped create a series of sharp clashes (otherwise it would have been very difficult to carry out, for example, a meeting between the peasants and the tsar). In the future, Nekrasov especially widely uses folklore material in the part "Peasant Woman". However, various folklore genres are not used equally. Particularly widely used here are, firstly, funeral lamentations (according to Barsov's collection "Lamentations of the Northern Territory"), secondly, the bride's wedding lamentations, and thirdly, lyrical family songs. Nekrasov takes mainly works of a lyrical nature, because it was in these works that the moods, feelings and thoughts of the peasantry were most clearly and effectively reflected. But Nekrasov often turns these lyrical works into an epic narrative, and fuses them into one whole, creating such a complex complex that does not and cannot exist in folklore. Nekrasov inserts some songs into the narrative precisely as songs and sometimes cites them with absolute accuracy. Thus, Chapter I (“Before Marriage”) is built almost entirely on wedding lamentations from Rybnikov's collection. In this regard, it is appropriate to draw the following parallel, which allows us to draw some conclusions.
Nekrasov's chapter ends like this:The dear father ordered.
Blessed by mother
Parents put
To the oak table
With the edges of the spell poured:
“Take a tray, stranger guests
Take it with a bow!”
For the first time I bowed -
Frisky legs shuddered;
The second I bowed -
Faded white face;
I bowed for the third
And the will rolled down
From a girl's head... From Rybnikov: Commanded my sir-father,
Bless my mother...
Parents put
To the oak table in the capital,
To green wine in pourers.
I stood at the oak table, -
There were gilded trays in the runes.
There were crystal cups on the trays,
Drinking green wine in cups
Villains foreign strangers,
These guests are unfamiliar.
And subdued her young little head: The first time I bowed, -
My volushka rolled off the head,
Another time I bowed, -
My white face faded
The third time I bowed, -
Frisky little legs trembled,
The red girl shamed her kind-tribe ...
Undoubtedly, Nekrasov used this particular text, since the proximity
We see in Nekrasov an extraordinary compression of the entire text by the number of lines. Except
moreover, and each line in Nekrasov is shorter than the corresponding folklore line
(for example, Rybnikov’s “To the oak table in the capital”, Nekrasov’s “K
oak table). This gives Nekrasov's verse a great emotional
tension (folk meter is slower and more epic) and more
energy (in particular, masculine monosyllabic
clauses used by Nekrasov, while in folklore
they are not in the text). The rearrangement made by Nekrasov is characteristic: in the folklore text, at the first bow, the will rolled away, at the second, the face faded, at the third, the bride's legs quivered; Nekrasov rearranges these moments
(at first “frisky legs trembled”, then “the white face faded”, and,
finally, “the will rolled off the girl’s head”) and thus gives the presentation
great power and logic. In addition, Nekrasov has the words "And the will"
rolled off a girl's head "(with a strong male ending) complete
Matrena Timofeevna's story about a girl's life, while in folklore
this motive. So the master artist gives great strength and significance
the material to which he refers.
In chapter II (“Songs”), song material is presented precisely in the form of songs,
illustrating the position of a married woman. All three songs (“Stand by the court
breaks legs”, “I sleep as a baby, dozing” and “My hateful husband
rises") are known from folklore records (in particular, analogies to
the first and the third are in Rybnikov's collection, the second - in Shane). First
the song is apparently built on the basis of Rybnikov's text, but significantly
shortened and refined. Nekrasov gave the second song, apparently, completely
exactly (or almost exactly), but without the last verse, in which the husband affectionately
turns to his wife: thus, Nekrasov’s mitigation of the topic disappears. Third
the song is again given very precisely, but again without the last part, in which
the wife submits to her husband; and here Nekrasov avoids a softening ending. Except
Moreover, this song in the records is called a round dance and is a game: a guy,
depicting a husband, jokingly hits the girl-wife with a handkerchief, and after the last
couplet picks her up from her knees and kisses her (the game ends with the traditional
round dance kiss). Nekrasov gives this song as a household and
she reinforces the story of Matryona Timofeevna about the beatings of her husband. This clearly
Nekrasov's desire to show precisely the plight of
peasantry and, in particular, the peasant woman.
In the same chapter, a description of the beauty of Demushka (“How written Demushka was”)
relies on the text of the glorification of the groom; and here Nekrasov produces
significant reduction in text. Chapter IV (“Demushka”) is largely built on the basis of 9 funeral lamentations by Irina Fedosova (from the collection of Barsov). Often Nekrasov uses a specific lamentation text; but it is the text that is important here, which in itself allows us to unfold the picture of peasant life. In addition, we learn in this way about the fact of the existence of funeral lamentations among the peasantry. Such use of folklore, in turn, has a dual meaning: firstly, the author selects the most powerful and artistically striking data and thereby increases the emotionality and figurativeness of his work, and secondly, the folkloric nature of the work makes it more accessible to the peasant (and in general
democratic) audience, namely this orientation towards democratic
audience is typical for Nekrasov. Especially significant here
borrowings from "Lament for the Elder", one of the most acute in the social
respect. At the same time, Nekrasov freely handles the material and, together with
it modifies it somewhat. Particularly striking is the comparison
curses to the judges at Nekrasov and Irina Fedosova. Irina Fedosova
ends Lament for the Elder thus:
You will not fall on the water, not on the ground.
You are not on God's church, on a construction site,
You will fall, mourn my tears,
You are an adversary to this villain,
Yes, you are right to the zealous heart,
Yes, please, God, Lord,
For decay to come on his colorful dress,
Like madness in a riot would have a little head.
More, God, Lord,
To his house is a foolish wife,
to produce foolish children,
Hear, Lord, my sinful prayers
Accept, Lord, you are the tears of small children ...
From Nekrasov:
villain! Executioners!
Drop my tears
Not on land, not on water,
Not to the Lord's temple.
Fall right on your heart
My villain!
Give me, God, Lord,
So that decay comes on a dress,
Madness not a head
My villain!
his foolish wife
Let's go, foolish children!
Accept, hear, Lord,
Prayers, mother's tears,
Punish the villain!
And here Nekrasov, following his rule (“so that the words are crowded”),
significantly reduces the folklore text, without reducing, however, the number
lines: each line, it is much shorter than that of Irina Fedosova, so
as freed from "ballast" words. As a result, the rhythm changes
Irina Fedosova, with great inner strength, the presentation is given slowly and
therefore relatively little tense, while Nekrasov has short lines with
numerous exclamations just create a great emotional
tension (and here the masculine clauses have the same meaning). Except
In addition, picking up the word “villain” from Irina Fedosova’s lament, Nekrasov
four times the repetition of this word turns it into a leitmotif
of the whole curse, especially since this word sounds at the very beginning, and then in
end of each semantic segment. So here it is emphasized and intensified
the social significance of the text.
In chapter V ("She-wolf"), in addition to some minor borrowings, you can
note the following parallel: Nekrasov:
On Demin's grave
I lived day and night.
Prayed for the deceased
Grieved for parents:
Are you afraid of my dogs?
Are you ashamed of my family? -
Oh, no, dear, no!
Your dogs are not afraid.
Your family is not ashamed.
And go forty miles
Tell your troubles
Ask your troubles -
It's a pity to drive a beetle!
We should have come a long time ago
Yes, we thought that:
We will come - you will cry,
Let's go - you will cry!
A song quite similar in motives and in some details was recorded by Shane in the Pskov province:
Lower the sun to walk
Nearby brother to ride,
Do not visit me.
Al yon do not know the path?
Al yon paths do not calm down?
Al yon good horse not manage?
Is Al Yong ashamed of my family?
Is Al Yong afraid of my dogs?
Hey, sister-in-law!
I'm not afraid of your dogs
I am not ashamed of your family either.
I'll come - and you cry,
I'll go - and you cry
Matryona's lamentation highlighted by Nekrasov in a special size (choreic)
Timofeevna (“I went to the fast river”), not being an arrangement of any
or one text, echoes the funeral lamentations for parents, which are available both in Rybnikov and in the collection of Barsov.
In chapter VI ("A Difficult Year"), depicting the situation of a soldier, Nekrasov uses funeral lamentations from the collection of Barsov, thus changing the application of the text. This change does not create, however, improbability, since the position of the soldier's wife was essentially similar to that of the widow.
From Nekrasov:
hungry
Orphans are standing
In front of me... Unkindly
The family is looking at them.
They are noisy in the house
On the street pugnacious,
Gluttons at the table...
And they began to pinch them,
Bang on the head...
Shut up, soldier mother!
From Barsov:
Little children will be orphans,
There will be foolish kids on the street,
In the hut, the orphans are troublesome,
At the table there will be children traveling;
After all, uncles will walk around the hut
And it's not fun to look at the kids,
They are rude to them and talk;
They will twitch the victorious children,
To beat the heads of orphans in a riot...
The principles of processing, as we see, are the same as above.
Thus, The Peasant Woman (especially some of her chapters) is
a kind of mosaic of song materials that Nekrasov uses
very freely, at the same time, however, very carefully treating individual
elements. All this mosaic is subordinated to one main task - to show
the severity of the position of a woman: where the material is sharp enough,
the poet uses it almost exactly, where this sharpness is not enough, he
resorts to revision and change. At the same time, Nekrasov modifies
folklore material and in the proper artistic sense: using
means of folklore, he at the same time strives to streamline the material and to
enhancing its artistic expression. In other chapters (“Last Child” and “A Feast for the Whole World”), such folklore
we will no longer see the song mosaic. In particular, in the chapter "A feast for the whole world"
Nekrasov takes a different path. Here we will find a number of "songs", but these songs
not folklore, but created by Nekrasov himself in the style of folklore. Just
Nekrasov gives these songs a particularly sharp social character, and their
can be called propaganda. These are the songs "Veselaya" ("Eat prison, Yasha!
There is no milk")," Corvee "(" Poor, unkempt Kalinushka ")," Hungry "
(“It’s standing - a man, swaying”), “Soldier’s” (“The light is sickening, there is no truth”),
“Salty (“No one is like God!”). Partly, perhaps, here it can be
one of Grisha's songs is attributed - "Rus" ("You are poor, you are abundant");
the rest of Grisha's songs are clearly of a literary nature, "Rus" is different
comparative simplicity. For none of these songs it is possible to point to a direct source in folklore; there are no even relatively close analogies. Only in the most general terms can we say that among folklore songs there are songs depicting the severity of serfdom, the severity of soldiery, etc. However, Nekrasov's songs differ from folklore ones in greater clarity in the sharpness of the image. Nekrasov's task was not to follow folklore, to reproduce folklore samples, but to, using folklore techniques and thereby making his works accessible to the peasantry, influence the peasant consciousness, wake up and clarify it, create new works that could enter song usage and thus become a means of propaganda
revolutionary ideas (no wonder these songs were censored and
direct prohibition).
The songs "Merry", "Corve" and "Pakhomushka" are dedicated to the image
serfdom. These songs can be compared with such, for example,
folk songs:
That our heads are gone
For the boyars, for the thieves!
Chasing the old, chasing the small
To work early
And with, the work is late ...
How to take father and mother across the Volga,
Forge a big brother into soldiers,
And cut the middle brother into a lackey,
And the little brother - in the guards ...
Ruined our side
Villain, boyar, master,
How did he choose, the villain,
Our young guys
In the soldiers
And us red girls
in the servants,
Young young women
In the feeders
And mothers and fathers
To work...
We'll arrive early in the morning.
Made by whip;
Let's become an excuse
They tell us to undress;
The shirts were off the shoulders
They started hurting us...
The songs "Hungry" and "Salty" depict with extremely sharp features
extreme poverty and hunger of the peasantry. The theme of poverty and hunger is also
in folklore songs, but the images used are different than those of Nekrasov.
Finally, "Soldier's" evilly depicts the position of a retired soldier,
walking "in the world, in the world." Soldiers are often depicted in folklore songs.
in the darkest colors (in particular, in recruiting lamentations).
Because of the forest, the dark forest,
Because of the green garden
The clear sun came out.
What kind of sun is the white king.
Leads a little power
He is not small, not great -
One and a half hundred thousandth regiments.
They walked, walked, cried,
On the knees fell:
“You, father, are our white king!
He starved us to death.
Hungry, cold! .. "
Thus, the themes and moods of Nekrasov's songs were close and
understandable to the peasantry; in particular, they are characteristic of the peasant
folklore. In the design, Nekrasov also gives character to his songs,
close to folk songs (partly lively peasant speech). So,
"Merry" is built on the repetition at the end of each stanza of the words: "It's nice to live
holy people in Russia! There are a lot of
diminutive and affectionate forms (Kalinushka, back, mother,
Pankratushka, Pakhomushka, cow, little head), inserted into the "Soldier's"
couplet about the three Matryonas and Luke with Peter (cf. Pushkin's "Matchmaker Ivan, how to drink
we will become). Small types of folklore are rather richly represented in the poem.
creativity - riddles, proverbs, signs and sayings. Saturation with these
works gives the poem a particularly clear folk flavor. All
Nekrasov's riddles are given, however, not in the form of riddles proper, but in the form
metaphors or comparisons, with the naming of clues (“the castle is a faithful dog”, etc.).
P.). Proverbs, as a rule, have a brightly colored social character -
“Praise the grass in a haystack, and the master in a coffin”, “They (gentlemen) boil in a cauldron, and
we put firewood." Also noteworthy is the abundance in the text of folk
accept and believe.
parallelism in the chapter "Demushka" - mother swallow; negative comparisons -
“It is not violent winds that blow, it is not mother earth that sways - it makes noise, sings, swears,
the people swaying, wallowing, fighting and kissing at the holiday, etc.;
permanent epithets - "frequent stars", "red girl", etc.; repetition and
folklore formulas - "Whether they walked for a long time, whether they were short, whether they went close, how far."
In general, “Who should live well in Russia” really takes on the character
"folk book", as Nekrasov wanted, according to Gleb
Uspensky. This is a poem about "the people" and for the "people", a poem in which the author
acts as a defender of “people's (peasant) interests.
Conclusion
The analysis of the material made it possible to reveal that N.A. Nekrasov uses folklore material for various purposes. On the one hand, folklore, as an integral element of peasant life, is included in the works of Nekrasov for a more complete depiction of the life of the peasants of the 19th century. On the other hand, the interweaving of motifs of oral folk art into the poem makes it more accessible to the peasant audience.
In the poem "To whom in Russia it is good to live" folklore material is used
Nekrasov in various ways. He either includes in the work a specific
text of lamentations or songs taken from book sources, or
modifies folklore material, increasing its emotionality and
figurativeness, or creates his own works, using
only folklore style.
Various folklore genres are far from equally used
Nekrasov. Especially richly represented are his wedding and funeral
lamentations and everyday lyrical songs, which made it possible to show most vividly and effectively the difficult aspects of the life of the peasants.
Also presented in the poem are small types of folklore (riddles, proverbs and sayings), which gives the poem a special folk flavor, while epics and historical songs, fairy tales and legends are relatively few.
Thus, all of Nekrasov's work on the use of folklore material is subordinated to the task of giving the most artistically and ideologically strongest text. Nekrasov strives to give a vivid and emotionally effective image
peasant life, arouse sympathy for the peasantry, arouse the desire to fight for peasant happiness. This task also determines the selection of the most valuable material in the artistic and social sense and its processing.
Bibliography
1. Library of world literature for children. Moscow, ed. "Children's
literature", 1981
2. Eleonsky S.F. Literature and folk art. Teacher's Guide
secondary school. Moscow, 1956
3. Besedina T.A. The study of the poem by N.A. Nekrasov "Who should live well in Russia" in
school. Vologda, 1974
The relevance of Nekrasov's work "Who lives well in Russia"
Nikolai Alekseevich Nekrasov is a wonderful Russian poet whose works are dedicated to the people. Since childhood, we have been reading his poems about peasant children, Russian women, the urban poor, and nature. Years go by, we grow up, but Nekrasov remains a poet, to whose works we return again and again, we discover poems, poems, songs of our favorite author that have not yet been read.
In the works of Nekrasov, we hear sad notes of hopelessness, longing. They disturb the soul, make you take a closer look at yourself and the world around you.
Yaroslavl land, which became the "small homeland" for the poet, left an imprint on all his work. Nekrasov spent his childhood in the village, on the banks of the Volga, on the estate of his serf father. Communicating with the peasants, he absorbed the kindness, sincerity, breadth of the soul of the Russian people. Knowing well the life of ordinary people, the poet was imbued with their pressing problems. And then he sincerely and honestly told in his works about the hard fate of the people. His poems were a protest against the unrest reigning in the country. Honestly and openly in the poem "" Nekrasov declares about lawlessness, atrocities, and abuse of human life.
The beginning of the work reminds me with its beginning of the old Russian epic. Indeed, than not a fairy tale:
In what year - count
In what land - guess.
On the pillar path
Seven men got together...
But this impression is formed only when reading the prologue. The further we move with the seekers of happiness, the more often we encounter the harsh reality of Russia in the second half of the nineteenth century. What are the views on well-being of our travelers? Some consider a priest, an official, happy, others - a landowner, a king ... The dispute between the peasants shows that they do not have a single concept of happiness. The very first meetings bring confusion into the souls of our wanderers: a clergyman does not live better than them, even though he eats more satisfyingly:
In the dead of autumn night
In winter, in severe frosts,
And in the spring flood
Go where you are called!
What is the peace of the ass?..
A series of new disappointments follows. How many of them were “happy” here: both, and Timofeevna, and Yakim Nagoy. But their life seems serene only to an outside observer. Who better to tell about themselves, if not themselves? But there is no joy in their narratives, the life of a simple person is full of adversity, the human soul hides a lot of grief in itself.
Nekrasov tells with sympathy about people who mistakenly consider themselves happy and are ready to tell passers-by about their lives for a “cup of vodka”. How many of them, "prosperous"! But what is their happiness? In death, which did not touch the narrator, but took away from life those close to him, in the remarkable strength that a cunning person uses, and squeezes all the juice out of a hero, or in vodka, giving oblivion from worldly affairs:
And in that, firstly, happiness,
What in twenty battles
I was, and not killed!
The story about Yermil Girin shows the wanderers that they are not looking for a happy place. Separate vivid images stand out against the background of the peasant world. Such is, for example, . Everything that he does, than he lives, is aimed at finding the happiness of the people. Girin is honest with the peasants, honors ancient Russian customs. It seems that this is a fairy-tale hero, acting among the people in a difficult time for her. All the best that is in Ermil Girin attracts the attention of others, makes them fall in love with this person:
He had everything he needed
For happiness...
... Honor enviable, true,
Not bought by money
Not fear: strict truth,
Mind and kindness!
Gradually, wanderers develop a single concept of happiness and a happy person. You should not look for well-being in your personal life, it is not there: Nekrasov leads us to such an idea. Only in the honor of the people can one find true bliss, although this does not bring any material benefits to a person, except for the name of the "people's protector", consumption and Siberia. The author's position gradually becomes the worldview of wanderers.
Nekrasov draws the image of an intellectual who devotes his life to serving the people:
Go to the downtrodden
Go to the offended -
Be the first there!
In the struggle for people's happiness, he will find the meaning of his life. The author brings us to this thought at the end of the work. Only in selfless service to the people did the poet see the meaning of life and the true purpose of man. He endows Grisha with the best features of a fighter for the people's happiness. The road of the "people's protector" is difficult, but:
They walk on it
Only strong souls
loving,
To fight, to work...
Any honest person can be in the place of Dobrosklonov, you just need to love your homeland and respect the people: With love for a poor mother
Love for all vakhlachin
Merged - and fifteen years
Gregory already knew
What will live for happiness
Wretched and dark native corner.
Nekrasov’s work “Who Lives Well in Russia” is still relevant today. Years pass, times change, months, weeks, days fly, and a person living on earth strives for happiness, wants to find it, but does he find it? We do not have the balance of the soul necessary for this state, and happiness is increasingly associated with the word "money". However, I believe that someday we will know true bliss. For me, the concept of "happiness" consists of several components - it is the ability to find one's place in life, to do what one loves and is interesting, to live a rich life and to realize oneself as a part of our world, in harmony with the surrounding nature. And my favorite poet supports me in this conviction:
The son cannot look calmly
On the mother's mountain,
There will be no worthy citizen
To the Fatherland is cold in soul,
He has no bitterness...
Go into the fire for the honor of the Fatherland,
For conviction, for love...
The large-scale work “Who Lives Well in Russia”, which tells about seven peasants who went in search of a happy person, was written by the great Russian writer N. A. Nekrasov. We offer you to get acquainted with a brief literary analysis of Nekrasov's poem according to the plan. This presentation of the material may be useful for work in literature lessons in grade 10, and preparation for the exam. Nekrasov’s work “Who Lives Well in Russia” does not have a specific year of writing, since the writer created the poem from the first half of 1860 to 1876.
Brief analysis
Year of writing- 1866 - 1876
History of creation- The history of creation was long, and the writer conceived several more parts of the poem, but the premonition of the approaching death did not make it possible to translate the plans into reality.
Topic- The poem was created some time after the abolition of serfdom, and its main theme is the freedom received by the peasantry. Village men, free and free, go in search of happiness, they go all over their native land, where people work everywhere, and the poem is filled with the theme of happiness, labor, and the Motherland.
Composition- The structure of the poem was formed from four parts that the author managed to create.
Genre- The writer called his work "the epic of peasant life", and the genre "Who lives well in Russia" is an epic poem.
Direction- Realism, in which folklore fragments and fairy-tale details are added.
History of creation
The writer began his work on the poem after the reform of 1861. The development of a serious illness for some time suspended the work of the writer. Then he continued to create the work, but the development of the disease again prevented him from finishing the poem. In 1876, already in a serious condition, the writer finished the chapter "A Feast for the Whole World." “Who is living well in Russia?” - an unfinished story, which the author very much regretted in a conversation with his sister, shortly before his death.
Topic
In the poem “To whom it is good to live in Russia”, the analysis of the work will be incomplete if its problems are not analyzed. In the global work of Nekrasov, there are a large number of topical problems of that time.
Philosophical and moral questions concerning all spheres of life of the peasantry, who received the long-awaited freedom, become the author in first place. The meaning of the work expressed in the fact that the degree of self-consciousness is growing among the peasantry. The theme of freedom, a happy future, overcoming slavery in oneself, this main idea poems, its main idea.
The main thing that the poem teaches is its true life lessons. It is necessary to unite the working people to achieve universal equality and independence. Only joint efforts and common conscious work for the sake of the motherland can lead to strengthening and prosperity. Happiness lies in living for the people, from the analysis of the work we can conclude that the main happy in the poem is Grisha Dobrosklonov, an ideological fighter and patriot of his country.
Composition
The composition of the unfinished work is chaotic, which makes it unique in its own way; it was assembled by the author's like-minded people from his sketches and drafts.
Prologue is an exposition of the poem, where the heroes meet, seven men from different villages. Next comes the plot of the development of the action: after the dispute that has arisen, the heroes take an oath not to return to their native lands until they find the culprit of the dispute, the one “who lives well in Russia”.
Main, large part of a poem, consists of many fragments and episodes. Walking in search of a happy person across the boundless native land, the heroes become participants in many events, meet various people on their way. For some of these people, happiness lies in the simplest and most ordinary things - a large turnip has grown, and already happiness. But, gradually, as the wanderers advance, the self-consciousness of the peasants grows more and more, they begin to see happiness already in higher sublimations.
Climax is a meeting with Grisha Dobrosklonov, who can be called a happy person. This is already an ideological revolutionary, a leader who encourages the people to fight for universal happiness. He is firmly convinced that his destiny is to serve the truth, he is ready to sacrifice his life to high ideals for the sake of his Fatherland.
The author himself attributed “A Feast for the Whole World” to the second part of the poem, but when he realized that he would no longer be able to complete the work, he transferred it to the final part, as if leaving his poetic testament, expressed in a purely revolutionary content.
middle parts poems in new editions are arranged differently, but from this the poem does not lose its deep content, and the meaning of the work.
Thanks to the creative originality of the great poet, each of the parts of the poem can exist as a separate work, or be formed into a single whole, a work of deep content.
Some critics reacted ambiguously to Nekrasov's poem, but most literary critics and researchers of his work highly appreciated this large-scale epic work. In their opinion, only Nikolai Alekseevich, like no one else, understood and felt the Russian people, could think and think in terms of their concepts.
main characters
Genre
The work is based on two types of literature: lyrics and folk epic, and it can be designated with full confidence as epic poem.
The epic component is that the poem describes a whole historical period of Russia after 1860, it describes a huge number of heroes, and also includes elements of folklore in its narrative.
The poem is written in verse, where there are typical symbols of poetry, lyrical digressions, original artistic means. The main direction of the poem is realism, interspersed with fantastic and fabulous elements. The compositional form is sustained in the form of a journey, which makes it possible to contain a variety of life pictures.
The finale of the poem "To whom it is good to live in Russia" reflects the writer's own point of view on the life of Russia in the post-serfdom period.
Artwork test
Analysis Rating
Average rating: 4.7. Total ratings received: 2837.
MINISTRY OF TRANSPORT OF THE RUSSIAN FEDERATION
FEDERAL RAILWAY TRANSPORT AGENCY
BRANCH OF THE FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION
HIGHER PROFESSIONAL EDUCATION
"SAMARA STATE UNIVERSITY OF TRANSPORTATIONS"
in Alatyr
IXOPEN COMPETITION OF SCIENTIFIC RESEARCH AND CREATIVE WORKS "I WILL BE ASSESSED INXXI VEKE"
Section "Social and Humanitarian Sciences"
The search for happiness as one of the urgent timeless problems in human life
(on the example of the poem by N.A. Nekrasov "Who should live well in Russia")
Scientific adviser - Matveeva N.A.
branch of SamGUPS in Alatyr
Alatyr - 2016
ANNOTATION
The theme of my work is the search for happiness as one of the topical timeless problems in human life (on the example of N.A. Nekrasov’s poem “Who should live well in Russia”)
The problem of finding happiness is relevant for every person, and especially for young people, since their future life depends on their values and perception of the world around them. The foregoing determined the choice of the research topic, determined its goals, objectives and object of research.
Practical significance of the study: Young people form life values and priorities, they analyze their lives and the lives of those around them, so the problem of finding happiness in a broad sense is relevant for them.
Content
1. Introduction............................................... ................................................. ..................................four
2. Main part.............................................. ................................................. ..........................5
2.1. The problem of finding happiness in the poem by N.A. Nekrasov "Who lives well in Russia" ....... 5-8
2.2. Research part .............................................................. ................................................. ....9
3. Conclusion ............................................... ................................................. .............................ten
4. List of references ............................................... ................................................. .................eleven
5. Application ............................................... ................................................. .......................12-15
Introduction
Each of us, probably, at least once in his life thought about whether he lives well? If not, who is doing well?
This question worried, worries and will always worry people. After all, we constantly compare our lives: our salary, clothes and much more with what others have. People are in the eternal search for happiness.
We will consider this problem using the example of N.A. Nekrasov’s poem “Who Lives Well in Russia”.
The aim of our study is to find outwhat for young people are the main components of happiness. And who lives well in Russia?
A sociological survey was conducted among students of 1-2 courses of the Alatyr College of Railway Transport.
As a result of the research work, the answers of the students were analyzed. The Appendix contains the most interesting statements.
2.1. The Problem of Finding Happiness in the Poem "Who Lives Well in Russia"
In the poem by N.A. Nekrasov, peasant peasants are looking around the world for a person who lives well in Russia.
Men's dreams of happiness are simple, the demands for the joys of life are real and ordinary: bread, vodka, cucumbers, kvass and hot tea.
In search of happiness, men turn to the bird:
"Oh, you little pichuga!
Give us your wings
We will circle the whole kingdom,
Let's see, let's see
Let's ask and find out:
Who lives happily
Feel free in Russia?
Drawing a gallery of social types for the reader, N.A. Nekrasov startsfrom the ass . This is natural, because the minister of the church should, according to the logic of things, best of all understand the idea of the divine world order and social justice. It is no coincidence that the men ask the priest to answer “in conscience, in reason”, “in a divine way.” It turns out that the priest simply carries his cross through life and does not consider himself happy:
"Our roads are difficult,
We have a large income.
sick, dying,
Born into the world
Do not choose time:
In stubble and haymaking,
<...>And in the spring flood
Go - where they call!
However, the peasant has a different view of priestly life: one of the peasants knows this well:"For three years he lived with the priest as a worker and knows that he has porridge - with butter, a pie - with stuffing."
The scene of the fair in the rich trading village of Kuzminsky sheds light on the life of the people in Russia. Everywhere is dirt. One noteworthy detail:"A house with an inscription: school,
Empty, stuffed up.
Hut in one window
With the image of a paramedic,
Bleeding."
No one cares about public education and health care in the state.
Fair fun ends with drunkenness and fights. From the stories of women, the reader learns that many of them feel sick at home, as in hard labor. On the one hand, the author is offended to look at this unrestrained drunkenness, and on the other hand, he understands that it is better for the peasants to drink and forget between hours of hard work than to understand where the fruits of their work go:
"A little work is over,
Look, there are three equity holders:
God, king and lord!
From a storyabout Yakima Nago we learn about the fate of people who are trying to defend their rights:
"Yakim, a wretched old man,
Lived once in St. Petersburg,
Yes, he ended up in jail.
I wanted to compete with the merchant!
Like a peeled Velcro,
He returned to his home
And he took up the plow.
Saving the paintings, Yakim lost money during the fire: the preservation of spirituality, art is higher for him than everyday life.
The landowner in Russia also, as it turns out, does not feel happy. WhenObolt-Obolduev
talks about his family tree, we learn that the feats that his ancestors performed can hardly be called such.
Obolt-Obolduev yearns for the time of serfdom, recalling how voluntary gifts were brought to him and his family in addition to corvée.
ON THE. Nekrasov shows that the landowners are in a difficult situation: they are used to living on the labor of others and do not know how to do anything. Obolt-Obolduev tells about this in his confession:
"Work hard! Who do you think
I'm not a peasant-bast worker -
I am by the grace of God
Russian noble!
Russia is not German,
We have delicate feelings
We are proud!
Noble estates
We don't learn how to work."
The chapter "Peasant Woman" is devoted to the situationRussian woman . This is a cross-cutting theme in the work of N.A. Nekrasov, which testifies to its importance in the writer's worldview. The main character is Matryona Timofeevna (a portly woman of about thirty-eight). Drawing her portrait, the author admires the beauty of the Russian peasant woman:
“Beautiful; gray hair,
The eyes are large, stern,
Eyelashes are the richest
Stern and swarthy.
At first, the woman refuses to answer the question of the peasants about happiness, saying that there is a labor suffering. However, the men agree to help her reap the rye, and Timofeevna still decides to tell about herself. Before her marriage, she had a happy life, although she spent it in labor (she had to get up early, bring breakfast to her father, feed ducklings, pick mushrooms and berries). In marriage, Matryona endured both beatings and the barbs of her husband's relatives. Monotony, the inability to even think calmly about her life, the need to constantly spend it in endless labors - this is the lot of a Russian woman of the lower classes in Russia. Soon Matryona lost her parents and child. Submitting to her father-in-law in everything, Timofeevna lives, in fact, for the sake of her children. One way out for a woman is to pray.
The most striking episode of the chapter is the fragment "About the exemplary serf - Jacob the faithful." It poses the problem of servility.
"People of the servile rank -
Real dogs sometimes:
The more severe the punishment
So dear to them, gentlemen, - writes N.A. Nekrasov. The poet convincingly shows that some peasants even like the feeling of servility. They have such a well-developed slave psychology that they even like humiliation:
“Jakov had only joy:
Gentle master, cherish, appease.
Another important image in the poem is the image of the people's intercessorGrisha Dobrosklonova . Only he smiled in the poem to taste happiness. Grisha is still young, but“At the age of fifteen, Grigory already knew for sure that he would live for the happiness of the Poor and dark Native Corner.” For this hero, happiness lies in serving the people, protecting their interests.
2.2. Research part.
The purpose of our research work was to find out what are the main components of happiness for modern youth and what kind of person lives well in our country, as well as to encourage students to think about the perception of their own lives.
A sociological survey was conducted among student groups of 1-2 courses of ATZhT.
128 people took part in the survey.
During the study, students were asked to answer two questions:
1. What is the main component of happiness for you?
The main component of a happy life41% respondents consider family.
For28% health is essential for happiness.
12% do not imagine a happy life without friends.
8% money is needed first.
For7% happiness is impossible without love.
For4% a happy life depends on a career.
In addition to these options, some students gave the following answers:
"I need for happiness":
Car,
Flat,
cottage for parents,
Travels,
Food,
The health of loved ones
Music,
Communication,
Comfort and tranquility
Permanent job,
Dream,
Don't be lonely
So that there is no evil in the world.
For the second question:"Who, in your opinion, lives well in Russia?" students gave free answers. The most interesting answers are presented in the Appendix.
Conclusion
Of course, each person understands the meaning of the word "happiness" in his own way.
However, erroneous ideas about a happy life ("to be rich", "to have an expensive car", etc.) and the inability to achieve the desired make a person deeply unhappy and insecure. While other people, who have significantly less material wealth, live in harmony with themselves and others, see happiness in simple things: the health of loved ones and relatives, the hugs of a loved one, a sunny day, a child’s smile, a peaceful sky above their heads ... Yes and in general, the very possibility of living is already happiness.
Probably, if each of us looked around and looked at life from this point of view, there would be much more happy people in the world.
Summing up the study, we can come to a rather optimistic conclusion that for the majority of modern youth, happiness still lies not in material values, but in spiritual ones.
Bibliography
1. Nekrasov N.A. Who in Russia live well. M., 2011.
2. Klibanov A.I. Folk social utopia in Russia in the 19th century. M., 1978.
3. Rozanova L.A. About the work of N.A. Nekrasov - M., 1988.
4. Skatov N.N. “I dedicated the lyre to my people” - M., 1985.
Attachment 1
Poll results
" What is the main component of happiness for you?
Annex 2
Student survey results
"Who in Russia to live well?"
* Life is good for those people who have all their loved ones alive, healthy and close by. They are the happiest, most affectionate and feel good. If a person has close people and he is not alone, then he should be happy.
* It is good to live for a person who has happiness in life. Who has a loving family, a favorite job. Someone is good when there is a lot of money, someone when a loved one is nearby. I live well in the General. Well, for now.
* For me, it is good to live for someone who has a favorite job, good friends, a girlfriend, healthy parents.
* In my opinion, those people who work in the State Duma live well. They are in the service of the president, but still have their drawbacks ...
* Many people have a good life, but not all. If a person is rich and has everything, this does not mean that everything is fine with him. Good is when there is a beloved girl, children who are waiting for you and love you, and when love and harmony reign in the family. When a person is rich, he is afraid of everything and everyone.
* I think everyone lives well in Russia, because every person wants to live in his own way. Everyone lives the way they can. He sees the world with his own eyes and evaluates everything in his own way.
* In Russia, billionaires, businessmen and other people who have enough money live well. Because nowadays everything we need can be bought.
* The rich live well because they have everything they want, while the poor live paycheck to paycheck.
* Rich people live well, because they have a lot of money and any problem of the current world can be solved with their help.
* A good life is for those who have something to feed and clothe their family, relax with friends, help relatives and friends.
* I live well, everything is fine with me, I am happy.
* Diversified people live well. He can only find knowledge that he likes and likes. And he begins to develop these abilities.
* In Russia, life is good for those whom everyone respects. Who is honest. Who else has a lot of money and if he honestly earned it.
* I believe that it is good to live in Russia for those people who have: a soul, love, children, health and at least a little money in order to be able to provide for their closest people and themselves.
* Lives well for a person who has a broad soul, who has many friends and is sociable.
* I believe that a person who has a house, a happy family and the wealth that he will have enough for a normal life lives well.
* A good life is when everyone is healthy, happy, there are no big problems and there is a stable income. Love cannot be bought with money.
* The President of the Russian Federation lives well, as he has subordinates who do everything for him.
* The one who does everything right lives well, even if he makes mistakes, he steps over them and steps forward. That's who lives well.
* It is good for someone who has a lot of money, a wife, children, parents, a car, a dog, his own company. This person doesn't need anything else.
* I think that in Russia everyone lives badly. There is no one perfect life. Everyone is stressed at work, the children are hungry at home, etc.
* Everyone lives well, who has health, happiness and true friends. Each person makes his own destiny and if he doesn’t like something, he changes something and he lives well. Money is important, of course. But not in the same way as spiritual balance. A person already lives well if he can speak, see, because this is not given to others.
* In Russia, Putin VV lives well, since he is not only rich, the people love him, people respect him. He works for the good of the people.
* In Russia, a person of average income who has feelings lives well. They spend more time with their families than rich people.
* In Russia, life is good for Putin. He has power, money, respect.
* In Russia, not everyone lives well, some are good, some are bad. Maybe someone has no home, family, money.
* Since there are wars in many countries, people suffer without food and clothing, water and shelter. The happiest people live in Russia. We have everything!
* Everyone lives well in Russia, especially in peacetime. The exception is those who see only one problem around.
* It is good for those who have all their dreams come true.
*Everyone lives well in their own way. For someone at the expense of money, power, and for someone at the expense of happiness, it is enough that there are close people in the environment and that everything is fine with them.
* Everyone lives well, because each person lives in his own way, he does what he wants: he wants to be rich - he will. A person decides for himself what to do and how to live.
* It is good for those who have everything that he considers happiness.
* In Russia, the oligarchs live well, they have a lot of money. In this age, money can buy everything: health, love, etc.
* No one, every person has their own problems.
* Fools live well. Smart and adequate people are always dissatisfied with something, but fools are always happy, they support the opinion of the crowd.
* The children of oligarchs live well.
* In Russia, life is good for those who feel happy.
* In Russia, life is good in its own way. Life is good for those who have a goal, health and love.
* Every person has some problems, experiences and a black streak in life. But over time, a bright streak comes, and life is good.
* All people live well, because they have their own Motherland.
* It is good for those who want to live.
* Life is good for those who love Russia.
*Life is good for those who have many friends, good friends who will not leave at a difficult moment.
* In Russia, peaceful people live well, not deputies, not oligarchs, but ordinary people, because to live well means to be loved and to love.
* Lovers live well because they do not notice all the problems around them.
* Students live well.
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