Who wrote the gypsy poem. Analysis of the poem "Gypsies

genre and composition. Romanticism, realism, nationality and artistry of the poem "Gypsies".
The poem "Gypsies" was written by Pushkin during the years of exile (begun in December 1823, completed in October 1824 during the growth of opposition sentiments. Byronism was their reflection in literature, which in the conditions of that time was perceived by many as a direct protest against the feudal-serfdom regime Hence the completely natural appeal of the author of The Village to the genre of the romantic poem, the form of which he borrowed from Byron.

What are the features of the new genre, the initiator of which in Russian literature is Pushkin?

In the heroic epic, the subject of the image was the events of great historical and national significance. In accordance with this, the plot of such works is rich in numerous branches, an abundance of characters and episodes.

In contrast, the plot of a romantic poem is distinguished by a novelistic character. The subject of the image is one event from the life of one person, by no means historical or heroic.

Most often, such an event in the life of this person is love. The number of characters in a romantic poem is not numerous. In most cases, the entire narrative is built around the relationship of three characters: 1) the hero; 2) beloved hero; 3) the opponent of the hero.

The action of a romantic poem usually takes place in an exotic setting. In the center of the work is the hero, whose spiritual experiences of action are the main subject of the author's artistic attention. Various plot moments and individual episodes serve mainly to reflect, reveal the inner world
the main character, his mental conflict.

The very development of events is sustained in the spirit of one more or less standard plot scheme. The mutual love of the hero and the heroine finds an obstacle in the third person.

The conflict that grows on this basis is resolved by the tragic death of the heroine, and sometimes the hero or his antagonist. This plot scheme varies in different ways in different works, in each case, but the plot backbone remains basically the same.

The construction of the plot in the poem "Gypsies" is sustained in the spirit of the above principles. The subject of the image in the poem is the love of Aleko and Zemfira. The number of characters in it is very small - there are only four of them: Aleko, Zemfira, a young gypsy, an old man. There is a trio typical of a romantic poem: the hero is Aleko, his lover is Zemfira, their antagonist is a young gypsy.

The action of the poem takes place in the exotic setting of a gypsy camp. Aleko, his emotional experiences and actions are in the center of the author's artistic attention. Aleko causes the death of Zemfira and her lover, a young gypsy.

In accordance with the artistic conception of the romantic poem and with the nature of its plot, Pushkin uses its special construction.

Here, instead of a consistent development of the action in accordance with how it would be in reality, the author immediately introduces us to the middle of the action. So, in "Gypsies" the real sequence of events is presented in the following stages:

1. Aleko's life in the city.
2. His "voluntary exile".
3. Zemfira brings Aleko to her father, and he stays with her and her father.
4. Aleko becomes aware of Zemfira's betrayal
5. Aleko kills Zemfira and her lover.
6. The gypsies leave Aleko.

However, in the poem, Pushkin immediately, suddenly introduces the reader into the very middle of the action. This allows the author to immediately create a tense dramatic situation. Everything preceding the drive scene by Zemfira Aleko is given retroactively in a biographical reminiscence from the author:

Like a carefree bird
And he, a migratory exile,
I did not know a reliable nest

Another feature of The Gypsies as a romantic poem is the following. Instead of a consistent, uniform development of all links in the plot chain, Pushkin breaks it into separate parts, which form independent dramatic pictures. Such an independent dramatic picture is, for example, a night scene in which Aleko is finally convinced of Zemfira's betrayal.

The dramatic peak here is the murder of Aleko Zemfira and a young gypsy. Omitting individual intermediate links, Pushkin focuses on the most spectacular dramatic situations, which gives the composition of the poem a fragmentary character.

So, between the scene of bringing Aleko to the camp and the moment when Zemfira, who has fallen out of love with him, is cheating on him, a significant period of time has passed. Pushkin does not give an artistic embodiment to this period of his hero's life, limiting himself to a dry and brief statement: "Two summers have passed."

The rest of the poem is built in this way. Separate dramatic passages, each of which has its own culmination, are united by compositionally short connecting links in narrative form and by the general lyrical tone of the poem.

It has already been noted that one of the compositional features of "Gypsies" is a sudden beginning, an immediate introduction from the very beginning into the middle of the action. This beginning in "Gypsies" is preceded by a lyrical introduction, a kind of poetic overture, which creates, as it were, an artistic background, decoration:

Gypsies in a noisy crowd
They wander around Bessarabia.
They are over the river today
They spend the night in tattered tents.

The compositional function of this introduction is not only to introduce action into the setting, but also to create a certain mood.

In accordance with the already noted sudden entry into the middle of the action, at the end of the poem there is also a sudden break in the plot, its understatement. After Aleko killed Zemfira, his further fate remains unknown. However, the poem does not end at the moment of Zemfira's murder.

As at the beginning of the poem, a lyrical overture precedes the sudden introduction into the middle of the action, so here, behind the abruptly interrupted plot, Pushkin places a lyrically colored picture-comparison, an expanded image that should sound like the last chord to the drama of a romantic hero and at the same time serve as a foggy romantic a hint of his future fate.

So sometimes before winter,
Foggy, morning time,
When it rises from the fields
The village of late cranes
And with a cry into the distance to the south rushes,
Pierced by deadly lead
One sad remains
Hanging on a wounded wing.
The night has come: in a dark cart
No one set fire

In "Gypsies", as in almost all other "southern poems" by Pushkin, the presence of a special epilogue is noted, which forms an independent final chapter of the poem. The compositional function of the epilogue in "Gypsies" is similar in nature to the role of lyrical digressions, but with some very significant difference.

As in lyrical digressions, in the epilogue, Pushkin directly expresses his attitude to various phenomena of reality, indulges in memories, and makes assessments of the political order. But all these statements are general in nature. The epilogue in The Gypsies consists of two parts, the boundaries of which are clearly marked by Pushkin himself.

In the first part, along with the biographical memoirs of the poet, which are directly related to the plot and point to the sources, impressions that led him to this topic, there are statements of a historical and political nature:

In a country where long, long battles
The terrible roar did not stop,
Where are the imperative lines
Russian pointed out to Istanbul,
Where is our old double-headed eagle
Still noisy past glory

These statements, which are alien in a romantic poem, testify to the fact that Pushkin’s historical interests have already manifested themselves here, which will later occupy such a significant place in his work, having received artistic expression in a number of works (“Boris Godunov”, “Poltava”, “ The Bronze Horseman", "The Captain's Daughter").

The second part of the epilogue sums up, as it were, a brief, but full of the deepest meaning, summary of the entire poem.

But there is no happiness between you,
Nature's poor sons!
And under the tattered tents
Living tormenting dreams
And your canopy is nomadic

And everywhere fatal passions
And there is no protection from fate.

These lines, which are, in essence, a form of the author's trial of their heroes, did not please Belinsky, who believed that they were "in clear contradiction" with the entire "meaning" of the poem.

“The main thing,” wrote Belinsky, “the poet should have focused the thought of the whole poem in the final verses, so energetically expressed in the verse:“ You only want freedom for yourself ...»

Thus, Belinsky considered the compositional significance of this part of the epilogue as a trial of his heroes, noting only as a drawback that Pushkin, in accordance with the entire meaning of the poem, did not focus on debunking the main character of the poem - Aleko.

One of the significant features of Pushkin's romantic poem is dramatic elements. The romantic poet strives to depict reality, its phenomena not externally, not descriptively, but to give them as the experience of the hero, from the inside. Elements
dramatic dialogue can already be observed in the "Prisoner of the Caucasus" and in the "Fountain of Bakhchisarai".

However, the dramatization of the narrative in The Gypsies reaches its most complete form. Here they become the dominant form of storytelling. Pushkin introduces dramatic forms in their purest form, in some cases even giving remarks:
a knife in him, goes away and sings.

As already noted, one of the compositional features of a romantic poem is the presence in it of one central character, around whom all the action is concentrated. Usually this romantic hero is presented as a rebel, an exile, sharply opposed to the society around him.

The same interpretation of the romantic hero is observed in The Gypsies. Aleko is sharply opposed both to the environment from which he came and to the environment to which he came. Aleko is a complete individualist. He "only wants freedom for himself."

It is remarkable that Pushkin was perhaps one of the first, at the dawn of the development of capitalism in Russia, with a brilliant instinct to catch and display in his work one of the contradictions typical of the latter - the contradiction between the individual and society and the individualistic worldview that grows on this soil.

Then such opposition of the individual to society will pass in a long string of characters through all Russian noble-bourgeois and bourgeois literature, giving a whole gallery of "superfluous people", renegades who have lost contact with reality.

Aleko is an outcast. His detachment is given in the biographical description given above (and he, a migratory exile, did not know a reliable nest ... ").

This is even more fully expressed in Aleko's characterization of society:
What to regret? When would you know
When would you imagine
Captivity stuffy cities!
There are people, in heaps behind the fence,
Don't breathe in the morning chill
Nor the spring smell of the meadows;
Love is ashamed, thoughts are driven,
Trade their will
Heads bow before idols
And they ask for money and chains.

Aleko is not like the rest of the inhabitants of the "stuffy cities". He is a rebel, a man of strong passions (“But, God, how the passions played with his obedient soul ...”).

With the romantic interpretation of the central character, special techniques for building his character are also associated.

As in any romantic poem, in The Gypsies the origin of the hero is almost unknown.
The author of a romantic poem usually confines himself to the most general, vague allusions to his past. All that is known about Aleko is that he was “born among a rich people”, “accustomed to bliss”, “he is pursued by the law” and he came to the gypsy camp “to share love, leisure and voluntary exile”.

The romantic half-dark poet envelops not only the past, but also the future of the hero. Its further fate can only be guessed from vague hints.

Thus, the focus of the author is only one, but the most colorful episode from the life of the hero. In accordance with this, only one feature stands out in the character of Aleko - the passion, impetuosity of his nature. Other traits of his character
disclosed. He is in no way like ordinary people, he is surrounded by an atmosphere of mystery, unusualness.

Such uncertainty and one-sidedness in the construction of the character of the hero is typical of a romantic poem and is explained by the far-fetchedness, unreality of the character itself, constructed by the poet in an abstract-logical way. This is also confirmed by the fact that the poet does not even care about finding a name for his hero. In a romantic poem, this is irrelevant.

In The Gypsies, Aleko is often referred to as a "boy". Other characters are not named at all.
name. Such are the "old man", "young gypsy".

Usually in a romantic poem, great attention is paid to the description of the appearance of the hero. At the same time, the features of the hero's face are significant not in themselves, but as an expression of those powerful passions that are the predominant moment in the character of the hero.

The portrait of the hero is made up in this case from a number of elements that are typical
for this genre. Such elements can be considered underlined
expressive look, changing complexion, a special emphasis on posture and gesture, designed for a strong effect.

Turning to The Gypsies, we see that, despite the stinginess of the external characteristics of the characters, certain features of the hero's portrait are given in the spirit of romantic poetics.

So, at the beginning of the poem, the dull look of Aleko is emphasized (“The young man looked sadly”); then, when Aleko begins to suspect Zemfira's betrayal, his face emphasizes
an expression that instills fear in others (“Oh, my father, Aleko is terrible ...”, further: “you scared me: you were sleepy grinding your teeth” and, finally, after the murder of Zemfira and a young gypsy: “the killer was terrible in the face ...”)

Almost nothing is known about Zemfira's appearance; only in one place does the poet casually drop an indication that she is black-eyed (“the black-eyed Zemfira is with him”).

In a typically romantic style, the effective pose of Aleko, struck by despair after the murder of Zemfira and a young gypsy, is sustained: Aleko behind the hill, the Killer was a terrible face;
With a knife in their hands, bloody, Gypsies timidly surrounded
Sat on a grave stone. His anxious crowd...
two corpses lay before him;

Pushkin followed the traditions of romantic poetics, which excludes the possibility of individualization of the characters' language, in the language of the poem. The characters here speak the same conventionally poetic language, that is, the language of the author himself. So, the old gypsy turns to Aleko and Zemfira with the following words: "Leave, children, the bed of bliss."

Gypsy Zemfira turns to Aleko: "Do not believe in crafty dreams." Or: “Tell me, my friend, do you regret that you left forever?” It is quite obvious that this language has nothing to do with the real language of the nomadic gypsies.

One of the specific features of a romantic poem is the lyrical manner of narration. In contrast to the epic calm, the objective tone of the narrative in the classical poem, the narrative of the romantic poem is never objective. The feelings and experiences of the characters are very often the feelings of the poet himself, which are expressed with particular tension and expressiveness.

In "Gypsies" the emotional interest of the poet in the fate of his hero finds its expression in various forms. Sometimes this is a short question, sometimes an unexpected exclamation, sometimes a more extensive appeal to his hero, or a lyrical digression in which the poet speaks directly on his own behalf, expressing certain assessments or indulging in his own memories and reflections.

An example of the author's emotional interest in the fate of his hero is the question in the narrative passage preceding the murder scene:

Mouths tremble, knees tremble,
It goes ... and suddenly ... or is it a dream?
Suddenly he sees two shadows close ...

Sometimes this emotional interest of the narrator in the fate of the hero reaches such strength that the characterization of the latter unfolds in the form of a series of lyrical reminiscences and questions:

But God, how passions played In his tormented chest!
His obedient soul! How long, how long have they been pacified?
With what excitement seethed They wake up: wait a minute.

A lyrical digression is in the "Gypsies" epilogue, where Pushkin speaks directly on his own behalf:

But there is no happiness between you,
Nature's poor sons!
And under the tattered tents
Living tormenting dreams
And your canopy is nomadic
In the deserts they did not escape from troubles,
And everywhere fatal passions
And there is no protection from fate.

However, for "Gypsies" the form of lyrical digressions put into the mouth of one of the characters is more characteristic. So, a number of lyrical maxims are put into the mouth of an old gypsy:

For what? freer bird youth;
Who can keep love?
By succession joy is given to all;
What was, will not be again.

One of the forms of the lyrical manner of narration in a romantic poem is the technique of syntactic parallelism. This finds expression in various lyrical repetitions and anaphoric constructions.

As an example of such a lyrical construction, Zemfira's story can be given when she first brings Aleko to the camp:

“I found him in the desert, he is pursued by the law,
And she called me to the camp for the night. But I will be his friend.
He wants to be like us, a gypsy; His name is Aleko ... "
Or in the words of Aleko to Zemfira:
... And the virgins ... How are you better than them
And without expensive outfits,
No pearls, no necklaces!

However, even in the works of the romantic period of Pushkin's work, we find elements that testify to the continuous growth of Pushkin's realism. First of all, it should be noted in "Gypsies" a deeply realistic assessment of Pushkin's contemporary reality, which was going through an intensified process of development of capitalism.

Only the observation of a brilliant realist could at that time suggest to the poet an amazingly accurate and exhaustive, for all its Pushkin brevity, characterization of the reality that was beginning to take shape, the negative features of which were so correctly captured by Pushkin in the period. when they have not yet had time to show up in their entirety, in order to become noticeable to the simple eye.

In this regard, Pushkin's characterization of the "bondage of stuffy cities", where "people in heaps, behind a fence" "trade their will" "and ask for money and chains", can be considered a classic.

More frequent manifestations of realism in "Gypsies" can be considered the presence of elements of gypsy folklore, as well as purely narrative elements. So, Pushkin introduces into the poem the gypsy folk song "Old husband, formidable husband ..."

As for Pushkin's introduction of narrative elements into a romantic poem, approaching a story in verse, the most indicative in this regard is the completed passage “Two summers have passed ...”, in this passage, elements are given in embryonic form, which, having been developed in Pushkin's further work, they will lead him to a story in verse (“Count Nulin”), to a novel in verse (“Eugene Onegin”), and then to authentic prose (“Arap of Peter the Great”, “Tales of Belkin”, etc.).

One of the most remarkable features of Pushkin, which ensured his dominant position in the history of Russian literature, is the folk character of his work.

Already in his first major works, dating back to the period when realism had not yet won a final victory in his work, Pushkin appears as a folk poet, who for the first time fell to the lot not only to appreciate the value of folk art, but also to be the first to draw from this inexhaustible treasury
material for their work.

“First of all,” Gorky notes on this occasion, “Pushkin was the first Russian writer who paid attention to folk art and introduced it into literature, without distorting the idea of ​​“people” for the sake of the state idea - the hypocritical tendencies of court poets, he embellished the folk song and a fairy tale with the brilliance of his talent, but
left unchanged their meaning and power.

The nature of the reflection of the reality surrounding the poet, which is given in "Gypsies" in terms of sharp criticism, a peculiar interpretation of the central character of the poem Aleko - this romantic hero, given in many respects in a realistic way, and, finally, the use of elements of gypsy folklore - all this testifies to the fact that that Pushkin had already firmly embarked on the path that later led him to the role of the spokesman for all the feelings and thoughts of the people.

When studying Pushkin's work, the figure of an innovative writer rises to his full height, boldly breaking the dilapidated literary canons, a writer who is always in search, on the move. In this sense, it is quite possible to speak of the revolutionary role of Pushkin in the history of Russian literature.

Thus, for example, in The Gypsies, the genre of the romantic poem explodes from within with the genre of tragedy. Such facts in Pushkin's work are far from isolated.

A realistic method and an exceptional breadth of coverage of reality, a genuine nationality, an amazing variety of genres and bold innovation - all these are features that are indisputably inherent in the works of the great poet.

However, perhaps the most remarkable thing that is given to us in Pushkin, which ensured him the unfading fame of "the creator of the Russian literary language and the founder of new Russian literature", is the unsurpassed artistry of his works.

Very remarkable is the assessment of the artistic features of The Gypsies given by Prosper Mérimée, who highly valued and carefully studied Pushkin, whose works he translated into French. “From this poem,” writes Merimee, “not a single verse and not a single word can be omitted. In my opinion, The Gypsies are the most accurate expression of Pushkin's manner and genius. The simplicity of the plot, the skillful selection of details, the wonderful restraint of execution.

The French language does not have the ability to convey the conciseness of Pushkin's verse. The images given by Pushkin are always full of truth and life, rather outlined than developed to the end, but all this is done with a truly Hellenic taste, commanding the attention of readers.

Consider the compositional features and artistic merits of the poem, as well as the features of romanticism and realism in it.

The composition of the poem is based on the conflict: Aleko and "civilized" society. The hero's attempt to get out of this conflict leads to another clash, now between Aleko and a new environment that lives according to the laws of "free" life. This second conflict drives the plot and leads to a tragic end.

The development of the plot, unusually quickly reaching a climax and denouement, passes through a series of episodes, sometimes narrative, sometimes purely dramatic. The epic and drama merge in the poem.

Scenes-episodes are selected and combined into a thoughtful and harmonious whole. The dramatic element is very strong in Gypsies. It manifests itself both in the rapidity of the development of the action, and in the replacement of the narration by episodes with dialogues, monologues, stage directions of the author.

In this sense, "Gypsies" is, as it were, the poet's preparation for work in a dramatic way - for the creation of "Boris Godunov", where the principle of constructing a tragedy will be fully implemented through a thoughtful selection of short scenes.

"Gypsies" are included in a number of Pushkin's romantic poems. Romantic in the poem plot provisions, the character of the protagonist. A young man from an educated society finds himself in the exotic setting of a gypsy camp. You can say: "an exceptional person in exceptional circumstances."

Elements of folklore and the introduction of lyrical and autobiographical moments, despite the drama of the poem, the image of the narrator appears in it, are also characteristic of a romantic poem.

V. Belinsky, highly appreciating the "Gypsies", at the same time noted their transitional nature: “It cannot be said that in all these respects the poem does not respond to something else ... not exactly immature, but something still not quite ripe. So, for example, the character of Aleko and the scene of the murder of Zemfira and the young gypsy, despite all their dignity, respond with a somewhat melodramatic flavor ... "

Along with the features of romanticism in the poem there is already a transition to realism. The life and way of life of the "wild tribe" is given in a truthful, realistic image. Aleko bears the typical features of a young man of the Russian noble intelligentsia of the 20s of the 19th century.

The significance of the "Gypsies" in the history of Russian literature is determined by their place in Pushkin's work, and the development of Pushkin's work determined, in turn, the development of Russian literature as a whole. The victory of realism began with the debunking of the romantic hero. This task was fulfilled by Pushkin's poem.

The southern period of Pushkin's work is characterized, especially at its beginning, by a passion for Byron. “A subjective spirit, so powerful and deep ... a personality so colossal, proud and uncompromising,” V. Belinsky described Byron in this way.

The rebellious aspiration of the works of the great English poet had a significant impact on Pushkin, which was reflected in his lyrics. But Pushkin did not become an imitator of Byron. In his development, he soon saw the weak side of the romanticism of the English poet. Being rebellious in nature, Byron's heroes were individualistic to the point of selfishness.

Contact with Byron's romantic poems enriched Pushkin, but later he came to overcome romanticism, to condemn the romantic individualist hero, which was manifested with particular force in The Gypsies.

One more important side of the meaning of "Gypsies" should be pointed out: the folk literature was created along the paths of developing interest in the life and life of ordinary people of different "tribes and states".

In Pushkin's poem an important step is taken in this direction. It is no coincidence that the "Gypsies" were
met with laudatory reviews of the advanced group of Russian writers, primarily the Decembrists and writers close to them.

Ryleev wrote that he and his friends "are all crazy about the Gypsies." On the contrary, the writers of the conservative camp reacted coldly to Pushkin's poem.

The poem was highly appreciated by advanced Western European literature and criticism.

3.3 / 5. 3

Alexander Sergeevich Pushkin is the author of a large number of famous works. Acquaintance with his work begins from a very young age and until old age it is pleasant to reread his poems “I remember a wonderful moment”, “Flower”, “I remember another time”, as well as his immortal poems - “Ruslan and Lyudmila”, “Caucasian prisoner”, “Gypsies”, “The Bronze Horseman” and others.

Each creation of A.S. Pushkin, imbued with a quivering plot and deep meaning. There is nothing superfluous in the works, and each character carries a message for his reader. Each individual creation deserves individual personal attention.

The poem "Gypsies" is the final one in the romantic cycle of works by A.S. Pushkin. It was written in 1824, in Chisinau. The author at that moment was in exile and spent most of his time observing the gypsy ethnos. Penetrating into the life of this people, Pushkin creates the poem "Gypsies", which is a kind of response to the already previously written poem "Prisoner of the Caucasus". The author was amazed and fascinated by the philosophy of a free people - gypsies and freedom in relations between a man and a woman.

The work itself is presented in the composition according to all the rules of romanticism. True, he is presented in a more critical form, since Pushkin himself continues his conflict with Byron. In his opinion, the return to the natural environment is not the development of the creativity of the individual, but its inhibition and stagnation.

There is a main conflict in the poem - it is a clash of two worlds: modern and primitive. In the first there are laws, rights and order, and in the second there are rituals, customs and canons. Not without a love line that takes place between Aleko and Zemfira. The latter is the daughter of an old gypsy and lives a free life in a camp. It is she who brings Aleko to the camp and introduces him to local customs.

Aleko is the main character of the poem. He runs away from the city, because he is unable to put up with the injustice, falsehood and hypocrisy of those around him. The soul of Aleko is personified by the image of the Moon. Indeed, in a dream, the moon was darkened, as was the state of mind of the main character.

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Aleko is the main character in Pushkin's poem Gypsies. Oddly enough, but Aleko himself is not a gypsy and does not become one, although he adopts the habits of this people.

After the gypsies have sheltered Aleko, he begins to earn money in the villages by having fun with a bear - a typical gypsy income. In addition, he passionately loves Zemfira, the girl who brought him to the camp and with whom he began his relationship. In fact, he gets his new home, but in reality he remains a man of civilization.

This hero is proud and jealous. He is freedom-loving, but does not recognize anyone else's freedom. Actually, he did not admit this, and when he lived in the city, we can only speculate, but, probably, he is hiding from the authorities after the crime that his ardor led to.

If Aleko had completely become a gypsy, he would have listened to the words of the old gypsy, who talked about the love of the women of his people (they are free to choose, and even the spouse also left the old gypsy, having fallen in love with another) and would have understood Zemfira. If he is looking for freedom for himself, then he should have accepted the possibility of freedom for others, in particular, the possibility of freedom for Zemfira to choose her lover. Zemfira is a young girl who, although she is part of a young family, will not deceive herself and her own feelings, if she fell in love with a young gypsy, she follows her feelings and starts a new relationship.

Aleko is a proud European who treats everything rather arrogantly. Nevertheless, he is a worthy person, because he loves his chosen one deeply and is not going to deviate from his own choice. The lack of reciprocity on the part of the young gypsy leads Aleko to commit an impartial act, which turns into his exile.

As a result, he remains alone in the middle of the field with his own cart and outside the camp. In fact, when he was part of the camp, he was also lonely, he could not become part of another world and this new world did not accept him. At the same time, the gypsies respect him for his courage, but call him evil, they respect his choice, but are not able to tolerate such a person in the camp.

Option 2

A young man with the mysterious name Aleko is the main character of the work "Gypsies". Pushkin's poem makes us think about the fact that in different estates people are different in character and worldview.

We don’t know anything about Aleko’s past, but we can only guess that he was from a big city, had a prosperous life and was brought up on urban customs. Something in the foundations of that society did not suit him, and he decided to run away and find freedom. This suggests that he is bold and determined. Hiding from the law, he meets a young beautiful gypsy and love is born between them.

Zemfira brought Aleko to her camp, and the gypsies accepted him. Passionately loving Zemfira, he hopes to gain freedom here, the gypsy life suits him completely, he adopts their habits, studies traditions. He loves and idolizes Zemfira. But his feelings are possessive. According to him, she should belong to him completely. He does not pay attention to the words of Zemfira's father that the gypsies have their own customs and rules, and that they are free to choose their life path and their choice must be accepted.

Aleko is proud and independent, and is likable in that he wants to provide for his family by earning money performing with a bear. But his pride and self-confidence only harms him. He cannot accept the fact that his beloved also has all the rights to freedom. Jealousy and arrogance lead to the fact that Zemfira loses a sense of love for her chosen one. She understands what he really is. Even having a child, she cannot always obey her husband in everything. She falls in love with another gypsy and goes to him.

The betrayal of a beloved woman hurt Aleko very much. His selfishness took precedence over reason, and pride and jealousy did the irreparable. Revenge was terrible. He kills Zemfira and her lover. This act makes him dishonorable in the eyes of the gypsies, they, respecting his courage and despising pride, cannot leave such an evil person with them and drive him out of the camp.

Pride does not allow Aleko to ask for forgiveness from the gypsies. Exiled and alone, he did not find true freedom and happiness in his life, because the gypsy life was not for him. He wanted freedom only for himself, not caring that others have a right to it. Aleko belonged to a society of a certain morality, which did not give him the opportunity to become a free man.

The image of Aleko is tragic. The new world that the protagonist aspired to did not accept him. He was a lonely man in the camp, and remained so after leaving it.

Essay about Aleko

Pushkin wrote not only poems and novels, he also wrote poems. One of the very famous is the poem "Gypsies". The protagonist of this poem is a young man who grew up in a rich European country, but never found freedom there. All moral norms, laws, traditions and foundations seem to him an obstacle to the freedom of the whole world, they seem absurd and fettering the soul of such eagles of freedom as he himself.

One fine day, Aleko meets a gypsy Zemfira, whom she falls in love with at first sight. Zemfira reciprocates him. She accompanies her lover to her camp of gypsies, where they begin to live together. Living with her beloved, Zemfira, like the reader, learns that her husband is being pursued by the law, that he is hiding from the authorities.

Aleko is a very passionate person, he not only loves and appreciates Zemfira, she replaces the whole world for him. He doesn’t need anyone at all, except for her alone, he loves and appreciates her so much. With all this, he believes that women's hearts love, jokingly, playfully, unlike men's, who suffer in love, give all their juices to maintain passion and to make the object of sympathy happy. The reader immediately learns that Aleko is a very vindictive person who does not forgive his enemies and offenders. He is ready to kill the sleeping enemy, so he is an evil and cruel person. For many, this is proof of his dishonor, because even in the most terrible wars there were people who would never kill their enemies in a sleeping position.

To provide for himself and his woman life, Aleko performs in a camp with a bear in front of the public. He completely lost the habit of city life, got used to the camp and fell in love with his soul. Zemfira says that Aleko wants freedom only for himself, and not for all people, that his struggle for freedom throughout the world is just a struggle for freedom for himself, a selfish struggle.

Soon a child is born to them, but Zemfira's feelings begin to cool down, she no longer finds Aleko such a wonderful man as she considered him before the wedding - now she really found out what a young rebel really is. The poem ends with Zemfira cheating on Aleko with another gypsy, knowing how jealous her husband is. Aleko, having learned about the betrayal, kills both her lover and Zemfira herself, for which he is expelled from the camp, leaving him alone in the field, like an abandoned bird. Aleko is a very proud man, and he would never ask for forgiveness from the camp to be left behind. Yes, and what kind of life is he now without a man, who was his whole world. But if Aleko really loved Zemfira so much, would he have killed her?

Stories of love and freedom are an eternal and bottomless theme for many novels and poems. Who has not loved or suffered, who has not sought sweet captivity or freedom from social shackles? From the poem written by Pushkin, "Gypsies", you can learn everything about these stormy feelings and emotions.

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History of creation

The history of the creation of the poem "Gypsies" by Pushkin begins with an exile near Chisinau, where he first got to know the life of the gypsies so closely, and reflected it in his poems. He was surprised by the freedom in relations between men and women and the philosophical concept of gypsies about freedom, because a civilized person puts so many restrictions and requirements into the concept of love. Pushkin's poem "Gypsies" coincides with the time of his exile - 1823 - 1824.

For that time plot "Gypsies" Pushkin is not quite traditional. At first, everything is normal - a young man comes to the nomadic camp of gypsies, he resembles Pechorin or, fed up with the light and his tricks, looking for freedom and rest, pure love and real people.

Zemfira, the daughter of an old gypsy, falls in love with Aleko and becomes his wife. The father does not interfere with lovers, does not teach and does not forbid.

Several happy years pass in love, travel, caring for bread. But it is at this moment that the usual line of romantic poems changes.

Real life bursts into the poetry of nomadic life and tests the hero for strength. Pushkin's genius is that his heroes Aleko and Zemfira did not remain cardboard images of romantics, but turned into living and tragic characters.

After the young wife confesses first in a song, and then openly that she fell in love with another, the hero from Manfred turns into Othello with the gypsy Zemfir e. He forgets that he himself proclaimed freedom and honesty, does not hear the sad love story of his wife's father about how he stayed with his little daughter abandoned by a windy mother, but kept love in his heart.

In the final Aleko lies in wait for lovers and kills first a man, then an unfaithful wife. Gypsies, in the person of Zemfira's father, accuse him of pride and selfishness, as well as the desire for will only for themselves. They leave him with the cart and leave on their way. But Aleko also disappears.

Brief and capacious description of Aleko

Pushkin wanted to settle the hero, who had already become popular, thanks to Byron and other romantics, and was tired of his restrictions in a clean environment. Aleko, the future husband of Zemfira, having got to the children of the steppes, proclaims that ties with the past and the world of cities are broken. He does not want to lie to himself and others, he is looking for simplicity of feelings and freedom from the bustle of science and the crowd. Gypsies attract him precisely inner freedom and childlike sincerity. The hero wants to love openly and live unconditionally.

Attention! But as soon as dreams collide with real manifestations of this moral freedom and calls for sensual impulses, the hero remembers all the ideals that bored him.

Zemfira

The young beauty Zemfira is a real child of love and nature. She is direct in her affections. As soon as she sees Aleko, the gypsy brings him to her family and to her house, and then generally gives him her heart.

If sometimes she is worried about the fear that her lover will leave her for the sake of a past life, and she immediately shares her experiences. Aleko's angry sermons about the meanness and filth of cities calm her down.

And as soon as the girl felt another love in her heart, she could not remain silent about it either - first she sings about her new feelings, then she confesses her desire to go to another, and goes on a date without hiding. From not understanding how it could be otherwise, girl acting like a mother who left her for a new love. Zemfira sees that her father has recognized the right of her beloved to leave if everything has passed, and she herself leaves just as easily.

Analysis of the work

So, the jealous man from the poem "Gypsies", who destroys two young lives at once, does so only because of a sense of offended pride, because they dared to leave him. It is written as if in defiance of all romantic heroes, and in particular Byron. These characters burned with hatred and contempt for society and its deceptive ideals. They fled to the mountains and fields, sent curses to heaven with calls to pour out their fury on these sanctuaries of vice.

Romantic heroes sought truth and naturalness from nature, it reconciled them with the world, gave them an ideal. Aleko also misses and yearns for knowing and feeling everything. He suffered a lot and now wants peace. But when a man enters the world that he considered ideal, his true face is revealed.

The author's genius is above romantic conventions, one-sided characterizations and deceptions. He draws a situation showing that a person who does not know how to build relationships in his circle, who has not found friends and love in his world, is not able to do this in a new one.

All that demonic, inert and vile, in which Aleko accuses the surrounding society, is in itself and manifests itself at the first difficulties. As soon as the beloved wants to leave, he immediately recalls the man's ownership of the woman who has given himself to him, the pride of men, scolded.

Attention! It is pride , and it is not unhappy love that leads to tragedy, and the gypsies who have retained their childish character traits see the true reason and do not reconcile themselves to it.

Features of the gypsy soul

Generally Pushkin gypsies main characters strong, free, generous and trusting, like children. And at the same time, people are filled to the brim with wisdom, collecting it bit by bit from everyone they meet on their way, and processing it to suit their ideals.

The story of an old man about Ovid, who in these parts, caressed with love and care, suffered bitterly in longing for, is indicative. The wise gypsy sees through Aleko and says that it is impossible to escape from oneself - a person everywhere brings his inner world with his nightmares and problems.

In contrast to Aleko, Zemfira and her father do not see evil in others and do not run away from the world. They react quickly to people, joyfully seek meetings and trustingly listening to other people's stories. The laws of society, private property, marriage do not interest them and they do not understand. The gypsies accept the newcomer as their own and equal, his throwing does not affect the heroes. Only Zemfira was surprised and fascinated, but she soon fell out of love and exchanged Aleko for her own.

Tragic characters according to Pushkin

A terrible act when a loving person wants only revenge on his beloved, and not happiness, even if far from him. These emotions are attributed by Pushkin to the majority of the so-called tragic characters who became popular during the years of general spleen and melancholy, who conquered the high society.

These young people wore tragic masks, sighed languidly and scolded contemporary society with its wrong and low principles and rules. They sought to return to the "golden age" where they lived boldly and boldly, feelings were real, and people were sincere. Pushkin, using the example of his hero, shows what they can bring to this golden world - grief and death.

The poem "Gypsies", a brief analysis

Pushkin, poem "Gypsies", summary

Conclusion

All these motives and moods allow us to say that the Gypsies are genre of romantic poetry because it has everything you need. Tragic and vivid characters, an unhappy love story, death, conflict between society and the hero, love and infidelity, mental turmoil and an emotional ending.

gypsies

(Poem, 1824)

Aleko— a fugitive from civilization with its “non-freedom” persecuted by the “law”, the hero of the last of the cycle of Pushkin’s “Byronic” poems, in which all (already obviously insoluble) problems posed by this genre are condensed to the limit.

A. wants to become part of the "wild", natural world. When the gypsy Zemfira finds him in the desert steppe, he follows her to the camp to become a gypsy. The gypsies do not mind - their will does not know the prohibition (here the chains are intended exclusively for the bear), nor does it know constancy. The Wise Old Man, Zemfira's father, explains this to the newcomer - one time, another ("... freedom is not always sweet / To the one who is accustomed to bliss"). He agrees in advance - because he loves Zemfira, wants to be always with her - and become a "free inhabitant of the world", like a "bird of God" not to know care and work. Alas, he does not realize that the gypsies are free to the end; that with all their passion, they do not know a long, hot passion, and therefore do not know fidelity; that he needs freedom from someone else's dictate, but he will never recognize someone else's freedom from himself. First of all, Zemfira's freedom to love whoever she wants.

Thus, the Byronic-fragmentary plot, breaking up into short dramatic fragments, approaches the inevitable culmination of a love (and semantic) conflict. Having spent two years with his beloved Zemfira, A. suddenly hears her hinting song: “Old husband, formidable husband /<...>I love another ... "This is a self-disclosure, contrastingly shaded by Zemfirin's answer, consistently free:" you are free to be angry.

The denouement is near; nothing can stop her - even the third (according to the literary and folklore account, the last one is obligatory) warning of the Old Man. Having learned from Zemfira that the Russian groans and sobs terribly in a dream, he calls A. for a conversation: he again reminds that “people are free here”, tells an instructive story about his Love for Zemfira’s mother, Mariu-le, who left with a gypsy from another camp ; All in vain. Finding Zemfira with another, A. kills both. That is, he administers judgment, which is possible only where there is a law. Having described a full circle, the action returns to its starting point - the European, who fled from the law to freedom, himself judges the will according to the law, which he himself established. What is the value of freedom, which does not promise happiness? What is the value of civilization, from which there is no escape - for it nests in man himself? A. does not find an answer - he remains completely alone, rejected (but not condemned!) by the camp. Unlike the Caucasian prisoner from Pushkin's poem of the same name, he cannot return to the "Russian", European space, where "Our double-headed eagle / Still makes noise with momentary glory."

According to the law of the genre, the circumstances of the hero's life are correlated with the circumstances of the author's life (who himself is "... dear Mariula<...>repeated the name of a tender"). The connecting link between them is not only the autobiographical epilogue, not only the name of A., through which the name of Pushkin himself, Alexander, shines through. Very important is the legend about Ovid, which, again for educational purposes, is told by the Old Man. It is with Ovid, whom Rome expelled from the center of the empire to the northern outskirts, to the Danube regions, that Pushkin compares himself in the poems of the period of southern exile. It is with Ovid, who yearned for the empire among the free people, that A. Starik compares. And yet, the line separating the inner world of the author from the inner world of the hero is clearly drawn. The author has already comprehended that “fatal passions are everywhere / And there is no protection from fate”; he is more experienced and wiser than A.; he does not so much rhyme his experiences with the feelings of the hero as coldly and harshly analyzes his spiritual world.

The phrase of the Old Man addressed to A. - "Humble yourself, proud man" - served as the starting point for the historiosophical constructions of "Pushkin's speech" by F. M. Dostoevsky (1880); the image of A. became for Dostoevsky the personification of the individualistic, theomachic beginning of Western European culture; he is opposed by Tatyana Larina, personifying the humble beginning of Russian catholicity.