Proverbs and sayings from the poem "To whom it is good to live in Russia" by Nekrasov. Question: who in Russia live well sayings

Proverbs, sayings	Puzzles
Part 1. Prologue
Proverbs: - The man is like a bull: vtemyashitsya ... Everyone stands on his own! - And he said: "The little bird, And the nail is bright!"	- Oh shadows! black shadows!<...>Can't be caught! ( Wed What can be seen with the eyes, but cannot be grasped with the hands? And the echo echoes everything.<...>...Screams without a tongue! ( Lives without a body, speaks without a tongue, cries without a soul, laughs without joy; no one sees it, but everyone hears it)
Chapter 1. Pop
Proverb:- Soldiers shave with an awl, Soldiers warm themselves with smoke ... Proverb: - Nobles bell(about butts)	- Spring has come - the snow has affected!<...>When he dies, then he roars.(about snow: “He lies - he is silent, he sits down - he is silent, but if he dies and perishes, he will roar”) - Luke looks like a windmill ... Probably won't fly ... ( about the windmill: “A yustring bird stands on nine legs, looks at the wind, flaps its wings, but cannot fly away”) - The red sun laughs, Like a girl from sheaves.("The red girl looks out the window")
Chapter II. rural fair
Proverb: - And I would be glad to heaven, but where is the door? ( And I would be glad to heaven, but sins are not allowed) Sayings: - And here - even a wolf howl! - There was a brisk trade, With swearing, with jokes ...(You can't sell without swearing) - So happy, as if He gave everyone a ruble!(What the word says, it will give with a ruble. What it looks like, it will give with a ruble)	- The earth does not dress... Sad and naked. ( She didn’t get sick, she didn’t get sick, but she put on a shroud (earth, snow)) - The castle is a faithful dog... But it won't let you into the house! ( The little black dog lies curled up: it doesn’t bark, doesn’t bite, but doesn’t let it into the house) - You scoundrel, not an ax!<...>And there was no kindness!(Bows, bows: will come home, stretch)
Chapter III. drunken night
Proverb: - Yes, the belly is not a mirror…	- Where are you, Olenushka? Didn't give a damn! (about a flea: Poi, feed, but petting is not given) - Not a spindle, friend! .. It's getting fatter ( about the spindle: The more I spin, the more fat I get) - The whole century saw iron Chews, but does not eat!(She eats quickly, chews finely, does not swallow herself and does not give to others) - And pigs walk the earth - They do not see the sky for centuries! ( He walks the earth, he does not see the sky) - I got up - and a woman for a braid, Like a radish for a tuft!(about radish: “Whoever came up - every one of me for a tuft)
Chapter IV. Happy
Proverb: - Not a wolf's tooth, so a fox's tail ...
Chapter V landowner
Proverb:- And you, approximately, an apple From that tree come out?(An apple does not roll away from an apple tree. What is a tree, such are apples)
Part 2. Chapter 1. LAST
Proverbs:- From work, no matter how you suffer ... And you will be a hunchback!(From work you will not be rich, but you will be a hunchback) - ...for a right horn They beat him in the face with a bow! ( For a truthful horn, they beat him in the face with a bow. A bow in hunting terminology - a rope for tying hounds in pairs when going hunting) - Klim has a conscience of clay, and Minin's beards ...(Minin's beard, and the conscience is clay) - Proud pig: itched O master's porch!(Where the pig passed, it scratched there) - ... And the world is a fool - it will catch!(You can’t argue with the world. A man is smart, but the world is a fool) - We revel in troubles, we wash ourselves with tears ...(Drank with troubles, drunk with tears) - Boyars - cypress ... And they bend, and stretch ...(Cypress bars, elm men) - The ice breaks under the peasant, It cracks under the master!(Under whom the ice cracks, and under us it breaks) - From a fool, darling, And grief is rushing with laughter!(From a fool and crying with laughter rushing) - In the barn, the rats died of hunger...(In his barn and the mice were gone) Proverb: - Praise the grass in a haystack, And the master - in a coffin!(Praise the rye in a haystack, and the master in a coffin)	- The Volkonsky princes are standing ... They will be born than their fathers ...(about sheaves, shocks and stacks: Children will be born ahead of their father and mother) - Like a washstand to bow Ready for vodka to everyone ...(about the washstand: One praying mantis - and bows to everyone) - The last time will come ... And we will lay firewood!(about the grave: You will drive into a pothole, you will not leave in any way)
Part 3. PEASANT WOMAN. Prologue
Proverbs:- Not so much warm dew as sweat from the face of a peasant ( Not so much dew from the sky as sweat from the face) - You are in front of the peasant ... For the rye that feeds everyone ( Mother rye, feeds all fools completely, and wheat is optional)	- Spikelets have already poured ... Gilded heads ( ripened bread: On the Nogai field, at the turn of the Tatar, there are turned pillars, gilded heads) - Such a good beet! ...Lies on the strip (Red little boots are in the country) - Gopox, that red girl... Seventy roads!(compound folk proverb“Peas in a field are like a girl in a house: whoever passes, everyone will pinch” and riddles about the sky, stars or hail “Peas scattered on twelve (seventy) roads”)
Chapter II. Songs
Proverbs: - Do not spit on the red-hot Iron - it will hiss! - Get off, shameless! berry, Yes, the forest is not that!(This is our boron berry)
Chapter III. Saveliy, Holy Russian hero
Proverbs:- No wonder there is a proverb ... The devil has been looking for three years.(Buy da Koduy searched for three years, trampled three bast shoes) - And sunk the money - it will fall off ... There is a tick in the dog's ear ( No matter how much the tick pouts, it will apparently fall off) - And bends, but does not break ...(It's better to bend than break)
Chapter IV. Demushka
Proverbs:- The cart brings bread home, And the sleigh - to the market! - God is high, the king is far...
Chapter V She-wolf
Proverb:- What is written in the family, That cannot be avoided!
Chapter VII. Governor
Proverb:- The working horse eats straw, And the idle dance - oats!(The workhorse is on straw, and the idler is on oats)	- ... And do not boast of strength, Who did not overcome sleep!(about a dream: And the army and the governor in one fell swoop)
A PIR FOR THE WHOLE WORLD
Proverb:- There was a great drop, But not on your baldness!

Test

N.A. Nekrasov

“Who is living well in Russia?”

Timofeevna fell silent. Of course, our wanderers Did not miss the chance For the health of the governor's wife To drain in a cup. And, seeing that the hostess Kostug bowed, They approached her in single file: "What's next?" - You know: They denounced the lucky one, They called the governor Matryona from that time ... What's next? I rule the house, I grow children... Is it for joy? You need to know too. Five sons! Peasant Orders are endless, - They already took one! Timofeevna blinked her beautiful eyelashes, Hastily bowed her head to Kostok. The peasants hesitated, hesitated. We whispered. "Well, mistress! What else can you tell us?" - And what you started It's not the case - between the women To look for a happy one! .. - “Yes, have you told everything?” - What else do you want? Isn't it right to tell you, That we burned twice, That the god of anthrax visited us three times?

We carried the horse's efforts; I walked like a gelding in a harrow! Promised to lay out the soul, Yes, apparently, I failed, - Sorry, well done! It wasn’t mountains that moved, They fell on their little heads, It wasn’t God who pierced his chest with a thunderous arrow In anger, For me - quiet, invisible - Gone mental storm Will you show her? For a desecrated mother, As for a trampled snake, The blood of the first-born has passed, For me mortal insults Have passed unrequited. And the whip passed over me! I just didn't - Thank you! Sitnikov died - Inexcusable shame, Last shame! And you - for happiness stuck your head! It's a shame, well done! Go to the official, To the noble boyar, Go to the king, But don't touch the women, - That's God! with nothing go To the grave! N.A. Nekrasov “Who should live well in Russia”

IN 1 What genre does N.A. Nekrasov’s work “Who lives well in Russia” belong to?

IN 2 What means of artistic representation is he referring to

AT 3 Indicate the term used in literary criticism to denote artistic definitions: "horse efforts", "thunder arrow"?

AT 4 What is the name of the artistic technique, which is expressed in the transfer of a feature from one object or phenomenon to another based on similarity: “A spiritual storm has passed”?

AT 5 Enter a name stylistic device to which it refers

What we got burned twice

What god of anthrax

Visited us three times?

AT 6 Establish a correspondence between the three characters of the work and their storyline. For each position in the first column, select the corresponding position from the second column.

STORYLINE CHARACTERS

BUT. A plowman, during a fire, saved pictures from a burning hut, 1. Ermil Girin

and his wife are icons; accumulated money, 35 rubles, 2. Grisha Dobrosklonov

"merged into a lump", for them he was given 11 rubles. 3. Grandfather Savely

B. A native of peasants, he was a clerk, then he was elected 4. Yakim Nagoi

Burmister, for the seven years of the reign of the "worldly penny

did not squeeze under the nail ”; kept a mill; stand on the side

peasants during a riot, ended up in prison.

V. He served hard labor for the fact that “in the land of the German Vogel

He buried Khristyan Khristianych alive.

AT 6 Establish a correspondence between the hero of the work and the given characteristic. For each position in the first column, select the corresponding position from the second column.

Topic: - The folklore basis of the poem by N. A. Nekrasov "Who in Russia should live well"

The poem “Who Lives Well in Russia” was conceived by the author as an epoch-making work, thanks to which the reader could get acquainted with the situation in post-reform Russia, the way of life and customs of various sectors of society, just as another Russian writer, N. V. Gogol, a few decades earlier , thought " Dead Souls". However, N. A. Nekrasov (like Gogol) never finished his work, and it appeared before the reader in the form of fragmentary chapters. But even an unfinished poem gives a fairly complete and objective picture of the situation of the peasants, what they lived and believed in after the abolition of serfdom. It would be impossible to show this without the use of folklore material: ancient customs, superstitions, songs, proverbs, sayings, jokes, signs, rituals, etc. Nekrasov's entire poem was created on the basis of this living folklore material.
Starting to read the poem, we immediately recall such a fabulous beginning familiar to us from childhood: “in a certain kingdom, in a certain state” or “once upon a time there were.” The author, just like the author of folk tales, does not give us exact information about when the events take place:
In what year - count
In what land - guess...
From the very first lines, Nekrasov uses stable epithets characteristic of Russian folk tales: the sun is red, the path is a path, the girl is red; The author also endows animals and birds with the properties and features of fairy-tale animals and birds: a timid hare, a cunning fox, a raven is a smart bird, etc. And a self-assembled tablecloth, presented to the peasants by a talking bird, is a completely fabulous attribute.
Often in epics and fairy tales, repeating phrases, sayings, refrains are used. There is such a refrain in Nekrasov's poem:
... Who has fun
Feel free in Russia?
This refrain again and again emphasizes the main theme of the entire work: the search for the happy in Russia.
An important part folklore basis of the poem “To whom it is good to live in Russia” is a mention of superstitions, signs, forgotten now, but carefully collected by the writer and included in the poem. For example, despite the fact that the twentieth century is on the nose, the peasants still blame the fact that they got lost on the goblin:
Well goblin, nice joke
He played a trick on us!
After all, we are without a little
Thirty miles away!...
The villagers of Matrena Timofeevna (ch. "Peasant woman") see the reason for the crop failure in the fact that she
... a clean shirt
Worn at Christmas.
But the heroine herself believes in omens and, according to one of them, “she doesn’t take an apple in her mouth until the Savior,” so that it doesn’t turn out that God, as a punishment, will not let her dead baby Demushka play with apples in the next world.
In general, the entire chapter “Peasant Woman” is written on the basis of songs, many of which captivate us with their melody and sincerity:
ok light
In the world of God!
Okay, easy
Clear to the heart.
We go, we go -
Let's stop
To forests, meadows
Let's admire
Let's listen
How they run
spring waters,
How it sings
Lark!
Many proverbs and riddles are in perfect harmony with the main plot of the poem and are inserted into the poem almost without changes: “praise_ the grass in a haystack, and the master in a coffin”, “flies - is silent, lies - is silent, when he dies, then he roars”, “does not bark , does not bite, but does not let into the house”, “peas scattered on seventy roads”, etc. The speech of many characters in the poem is replete with folk wisdom: it is bright, aphoristic; Many expressions are like proverbs. For example: “And I would be glad to heaven, but where is the door?” The ability to “insert a well-aimed word” into speech testifies to the creative talent of the Russian peasant. Savely Korchagin, Matrena Timofeevna, Vlas Ilyich, seven men are portrayed in the epic not only as experts in folklore, but also as participants in the creation of new versions of traditional texts. Matrena Timofeevna has the greatest creative talent. It is in the chapter on the hard lot of a serf woman that a huge amount of folklore material is concentrated. The researchers found that three-quarters of the text of the chapter “Before Marriage”, about half of the chapter “Songs” and more than half of the chapter “Hard Year” have established folklore sources, and the prototype of the heroine herself is the Olonets wailer Irina Fedosova, known at that time. Matrena Timofeevna, like Irina Fedosova, not only keeps folklore in her memory, but also renews it. Songs, laments, legends, proverbs, sayings are introduced into the story of the heroine not for the sake of ornamental decoration. The image of “the long-suffering mother of the all-enduring Russian tribe” arises in them. This image was created by the genius of the people themselves, it exists in folklore independently of Matryona Timofeevna, but in the epic it is shown through the vision of the heroine. The generalized folklore image appears next to the individual image of the “lucky woman”. These two images merge with each other, form an artistic unity of the individual and the epic.
In the chapter “A Feast for the Whole World”, Nekrasov also shows the creative activity of the Russian people. This chapter depicts the last mass scene of the poem. The people in this scene are most active - they are celebrating a commemoration with the Last. The spiritual, creative activity of the Vakhlaks finds its expression in relation to folklore, in the renewal of well-known folklore works, in creating new ones. Vakhlaks together sing folk songs: “Corvee”, “Hungry”, listen to the story “About the exemplary serf - Jacob the faithful”, the legend “About two great sinners”, the song of the soldier Ovsyannikov. Folklore is used here as an expression of the developing national consciousness. And this creative activity, spiritual power testifies to the fact that “limits have not yet been set for the Russian people.”
So, the diverse folklore material in the poem is interesting not only as a plot-forming component, but also as an expression of folk psychology, folk worldview.
It is hardly possible to present this work separately from the folklore basis, and if possible, it is unlikely that it will be real. Nekrasov's poem, which, despite its fragmentary nature, gives the impression of a work created by a master not only of the Russian literary language, but also of a colloquial, colloquial, folk word. Having set the goal of describing all strata of Russian society, Nekrasov achieved it only partially, but this part claims to be the main one. Nikolai Alekseevich was able to masterfully describe the life and customs of the main class Russian Empire mid-nineteenth century, using the richest folklore material.

So, the basis of the poem is the people's view of the world. To recreate a truly folk point of view, Nekrasov turns to folk culture. In the 1860s and 1870s, Russian folklore studies experienced a stormy surge, just at that time the activities of the remarkable Russian folklorists A.N. Afanasyev, E.V. Barsov, F.I. Buslaev, P.N. Dalia, who collected and released collections folk songs, lamentations, proverbs, riddles. Nekrasov actively used these materials in the poem.

Ho knowledge folk culture Nekrasov had not only a book, he had a lot and closely communicated with the people from childhood. It is well known that as a boy he liked to play with peasant boys; in his mature years, he also spent a lot of time in the countryside - in the summer he came to the Yaroslavl and Vladimir provinces, hunted a lot (Nekrasov was a passionate hunter), while hunting he often stopped in peasant huts. It is obvious that folk speech, proverbs and sayings were at his hearing.

Folk songs, proverbs and sayings are introduced into the poem "To whom it is good to live in Russia". The poem even opens with a riddle (“In what year - count, / In what land - guess ...”), to which a guess is immediately given: this is Russia in the post-reform period, since seven “temporarily liable”, that is, peasants, converged on the pillar path , obliged after the reform of 1861 to perform some duties in favor of the landowner. Inserting into a poem folk genres, Nekrasov usually creatively reworked them, however, he used some texts - for example, a song about a hateful husband in the chapter "Peasant Woman" - without changes. And what is especially interesting is that folk and author's texts sounded in unison without destroying the artistic integrity of the poem.

In the poem "To whom it is good to live in Russia", reality and fantasy freely coexist, although the concentration of the fantastic falls on the first chapter. It is here that the talking warbler appears, presenting the wanderers with a tablecloth, a raven praying to the devil, seven laughing owls who flocked to look at the peasants. Ho soon fantastic elements completely disappear from the pages of the poem.

Here the warbler warns the peasants not to ask the self-collection tablecloth for more than the womb can bear:

If you ask more
And one and two - it will be fulfilled

At your request,
And in the third be trouble!

Nekrasov uses a characteristic fairy-tale technique here - the warbler imposes a ban on the peasants. The ban and its violation are the basis of many Russian folk tales, the adventures of the main characters of the tale just begin after they cross the cherished line. Brother Ivanushka drank water from a hoof - and turned into a kid. Ivan Tsarevich burned the skin of the Frog Princess - and went to look for his wife to distant lands. The cockerel looked out the window - and the fox took it away.

The ban on the warbler in the poem “Who Lives Well in Russia” is never violated, Nekrasov seems to forget about it altogether; the self-assembled tablecloth generously treats the peasants for a long time, but in the last chapter, “A Feast for the Whole World”, it also disappears. In the chapter "Peasant Woman" there is a scene parallel to what happened in the "Prologue" - one of the seven wanderers, Roman, frees the "small lark" entangled in flax, the freed lark soars up. But this time the peasants do not receive anything as a reward, they have long been living and acting not in a magical, but in the real space of Russian reality. The rejection of fantasy was fundamental for Nekrasov, the reader should not confuse the "lie" of a fairy tale with the "truth" of life.

The folklore flavor is enhanced with the help of sacred (that is, sacred, mystical) numbers - seven men and seven owls act in the poem, there are three main storytellers about happiness - a priest, a landowner and a peasant woman, twelve robbers are mentioned in the "Legend of the Two Great Sinners". Nekrasov constantly used both speech turns and the style of folk speech - diminutive suffixes, syntactic constructions characteristic of folklore, stable epithets, comparisons, metaphors.

It is interesting that Nekrasov's contemporaries often did not want to recognize the folk origins of his poem, accusing the author of a false understanding of the folk spirit, arguing that some proverbs and songs "the poet himself came up with for the peasants." But just those songs and proverbs that critics pointed out as "invented" were found in folklore collections. At the same time, Nekrasov's reproaches of pseudo-nationality had their own reasons - it is simply impossible to completely hide behind the people's gaze, to completely renounce oneself, one's vision in a work of art. This view, these predilections, regardless of the will of the author, were reflected both in the selection of material and in the choice of characters.

Nekrasov created his own myth about the people. This is a whole national cosmos with its righteous and sinners, its own concepts of good, evil, truth, which often do not coincide with Christian ones.

Research work on the topic:

“Proverbs and proverbs in the work of N. A. Nekrasov

"To whom in Russia it is good to live."

The work of a student of grade 10 A

Masharova Alena Andreevna
Supervisor

teacher of Russian language and literature

Masharova Irina Arkadievna

Plan.

Introduction………………………………………………………………………………3

I. “About proverbs and sayings”…………………………………………………….5

II. Biography of the poet…………………………………………………………………..15

III. The epic “Who lives well in Russia”………………………………………………………………………18

1. 
   The emergence of an idea……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
2. 
   The image of the people…………………………………………………………..20
3. 
   Heroes from peasants……………………………………………………...22
4. 
   The image of Grisha Dobrosklonov………………………………………...25

IV. Conclusion…………………………………………………………………..29

V. Literature used………………………………………………….31

Introduction.

How rich is our language! And how little we listen to our speech, the speech of our interlocutors ... and language is like air, water, sky, sun, something we cannot live without, but which we are accustomed to and thus, obviously, have devalued. Many of us speak standard, inexpressive, dull, forgetting that there is a living and beautiful, powerful and flexible, good and evil speech! And not just in fiction...

Here is one of the testimonies of the picturesque, expressiveness of our oral speech. The most common situation is a meeting of two acquaintances, already elderly women. One came to visit the other. "Fathers, no godfather Fedosya?" - Nastasya Demyanovna joyfully exclaims, dropping the grip from her hands. “Aren't you few, aren't we needed? - the unexpected guest cheerfully answers, embracing the hostess. - Hello, Nastasyushka! "Hello Hello! Come in and brag, - the hostess responds with a beaming smile. This is not an excerpt from a work of art, but a recording of a conversation witnessed by a famous collector folk art N. P. Kolpakova. Instead of the usual "Hello!" - "Hello!" What a wonderful dialogue! And these non-standard cheerful expressions: “Are you not enough of you, are we needed?” and “Hello, Hello! Come and brag!"

We speak not only in order to convey information to the interlocutor, but we express our attitude to what we are talking about: we rejoice and are indignant, convince and doubt, and all this with the help of a word, words, the combination of which gives rise to new shades of thoughts and feelings, composes artistic phrases, poetic miniatures ... at school we are usually introduced to only two types of eloquence: proverbs and sayings. But besides them there are others, and I would like to dwell on some now.

First, there are jokes. These are rhyming expressions, most often humorous, used to decorate speech. For example, “We are close people: we will eat from the same bowl”, “Feet are dancing, hands are waving, the language is singing songs” and others.

Jokes include numerous comic invitations to enter, sit down at the table, answers to them, greetings. A joke is also expressions that characterize occupations, trades, properties of people, expressions containing playful assessments of cities, villages, villages, and their inhabitants.

Parents, for example, can say about their daughter: "Masha is our joy" or "Olyushka is one goryushka." Previously, they liked to joke on the inhabitants of any area. Ryazanians, for example, were teased for their “yaking” speech in this way: “We have mushrooms with eyes in Ryazan: take them - they run, eat them - they look.”

Among the jokes, one can single out, as they were called by the people, empty talk, that is, usually rhyming obscure expressions or sets of words that do not make sense. For example, they said, fixing some kind of agreement: "If so, so, there is nothing to transfer, so it will be."

Secondly, there is sentences. These are also, as a rule, rhymed sayings, but, unlike jokes, they talk about something serious in life; sentences are often associated with some action, often instructive in nature. For example, they said, teaching negligent farmers: "This oats in the mud - you will be a prince, and rye - loves at the right time, but into ashes."

Thirdly, fables- poetic miniatures, for edification, teaching, reproducing any life situation. Fables are often dialogues. Here is how a lazy person is depicted in one of them: “Titus, go thresh!” - "The belly hurts!" - "Tit, go slurp jelly!" - "Where's my big spoon?"

Fables are ironic, funny, unlike jokes and sentences, they are a more or less detailed text made up of several phrases. For example, a fable that involuntarily makes us smile: “Fedul, why did you pout your lips?” - "Caftan burned." - "Can I sew it up?" - "Yes, there is no needle." “Is the hole big?” - "One gate remained."

Jokes, sentences, fables, of course, do not exhaust the entire wealth of folk eloquence. It also includes proverbs and sayings. Together with other well-known genres of oral folk art (riddles, or tongue twisters, or tongue twisters), they constitute the so-called group of small folklore genres. Further, we will talk only about proverbs and sayings - the most famous types of folk art.

“The Russian people have created a huge oral literature: wise proverbs and cunning riddles, funny and sad ritual songs, solemn epics, heroic, magical, everyday and funny tales.

It is vain to think that this literature was only the fruit of popular leisure. She was the dignity and mind of the people. It formed and strengthened his moral image, was his historical memory, the festive clothes of his soul, and filled with deep content his whole measured life, flowing according to the customs and rituals associated with his work, nature and veneration of fathers and grandfathers.

About proverbs and sayings.

Proverbs and sayings are usually studied together. But it is important not to identify them, to see not only the similarity, but also the difference between them. In practice, they are often confused. And the two terms themselves are perceived by the majority as synonymous, denoting the same linguistic, poetic phenomenon. However, despite some controversial, complex cases of defining a particular statement as a proverb or saying, for the most part, their entire fund can easily be divided into two parts.

When distinguishing between proverbs and sayings, it is necessary to take into account, firstly, their common mandatory features that distinguish proverbs and sayings from other works of folk art, and secondly, the features are common, but not mandatory, bringing them together and separating them at the same time, and, thirdly, signs that differentiate them.

Common mandatory features of proverbs and sayings include:

1. 
   Brevity (conciseness);
2. 
   Stability (ability to reproduce);
3. 
   Communication with speech (proverbs and sayings in natural existence exist only in speech);
4. 
   Belonging to the art of the word;
5. 
   Wide use.

These are so obvious signs that there is no need to dwell on them in detail.

In the history of the study of proverbs and sayings, there have been attempts to identify any one, but distinguishing feature. It was believed that proverbs, unlike sayings, always have figurative sense, they are multivalued. However, among the proverbs there are those that we always use in their literal sense, for example, “Cause - time, fun - hour”, “Finished business - walk boldly” and so on. On the other hand, sayings can be ambiguous, have a figurative meaning of this phrase is far from direct meaning constituents of her words.

Some scientists put forward the features of their syntactic construction as the main sign of distinguishing between proverbs and sayings, and the saying is only a part of it. Indeed, proverbs are always a sentence, but sayings for the most part, outside the context of speech, are only part of the sentence. But among the sayings there are also those expressed by the sentence, and in speech the sayings are always used either as a sentence or as part of a sentence. For example, the sayings “Where the wind blows”, “Ears wither”, “The tongue of the bast does not knit” are framed as sentences.

And two more features that are usually considered characteristic only of proverbs. There is an opinion, while a proverb is always monomial, indivisible into parts. Indeed, many proverbs are binomial, but not all. “Take care of the dress again, and honor from a young age!” - a two-part proverb, and the proverb “Eggs do not teach chicken” is one-part. As we will see below, proverbs can be both three- and four-part.

It is often said that proverbs, unlike sayings, are rhythmically organized. Indeed, among the proverbs there are many in which there is no rhythm. For example, “Necessity is cunning for inventions”, “Radish horseradish is not sweeter”, “In the wrong hands the chunk is great”. And here are rhythmically organized sayings: “Neither fish nor meat, neither caftan nor cassock”, “Both ours and yours”, and others.

So, we see a number of signs, on the basis of which proverbs and sayings are sometimes sought to be distinguished (figurative meaning, syntactic construction, division into parts, rhythm), is not mandatory for all proverbs and, moreover, for sayings. At the same time, characterizing proverbs, they are not at all alien to sayings. These are just the signs that were mentioned above as common, but not mandatory for proverbs and sayings.

But by what strictly differentiated features can proverbs and sayings be clearly distinguished? These signs have already been called repeatedly by more than one generation of scientists, however, among others. This is about generalizing nature of the content of proverbs and their instructiveness, edification. Back in the first half of the 19th century, Professor of Moscow University I.M. Snegirev wrote: “These sayings of people, among the people of excellent intelligence and long-term experience, affirmed by common consent, constitute a broad sentence, general opinion, one of the secret, but strong, from time immemorial means akin to humanity for the education and maintenance of minds and hearts. The largest collector of folklore V. I. Dal in the second half of the 19th century formulated the following definition of a proverb: “A proverb is a short parable. This is a judgment, a sentence, a lesson." In the first half of the 20th century, M. A. Rybnikova, an expert on proverbs, wrote: “A proverb defines many similar phenomena. “All the coopers, but not everyone is thanked,” this judgment speaks of the skill of the cooper, but if we think that the meaning of the saying is only in this, we will deprive the proverb of its generalizing power. This proverb speaks of the quality of work in general, it can be applied to a teacher, a tractor driver, a weaver, a machinist, a pilot, a warrior, and so on.

It is these two features that determine the originality of the proverb when compared with a saying, which is devoid of both a generalizing meaning and instructiveness. Sayings do not generalize anything, they do not teach anyone. They, as V. I. Dal quite rightly wrote, “a roundabout expression, figurative speech, a simple allegory, a bluff, a way of expression, but without a parable, without judgment, conclusion, application ... The saying replaces only the direct speech of the roundabout, does not finish, sometimes does not name things, but conditionally, very clearly hints.

So the proverbs these are poetic, widely used in speech, stable, short, often figurative, ambiguous, figurative sayings, formulated syntactically as a sentence, often organized rhythmically, summarizing the socio-historical experience of the people and having an instructive, didactic character.

Sayings - these are poetic, widely used in speech, stable, short, often figurative, sometimes ambiguous, having a figurative meaning, expressions, as a rule, taking shape in speech as part of a sentence, sometimes rhythmically organized, not having the ability to teach and generalize the socio-historical experience of the people.

But if the saying does not teach and does not generalize socio-historical experience, then why is it? A proverb, as we see, is always a judgment, it contains some definite conclusion, a generalization. The proverb does not pretend to be. Its purpose is to characterize this or that phenomenon or object of reality as vividly, more figuratively as possible, to decorate speech. “A proverb is a flower, a proverb is a berry,” the people themselves say. That is, both are good, there is a connection between them, but there is also a significant difference.

Sayings, as a rule, are used for the figurative and emotional characteristics of people, their behavior, some everyday situations. There are a lot of sayings, there are so many of them that it seems that there is enough for all occasions. Of course, a flower proverb is most needed to express emotions - indignation, hatred, contempt, admiration ... We don’t like someone, but he is thin, and we say: “Thin as a horsetail.” Or fat, and we say: "Thick as a barrel." Someone has done stupid things, and in their hearts they scold him: "Stupid as a donkey, like an Indian rooster, like a sturgeon's head." We hate two-faced people and we say about one of them: "The face is white, and the soul is black." About an unscrupulous person: "His conscience is a sieve of holes." About the soulless: "Not a soul, but only a ladle handle."

Sayings help to express the emotional state, dissatisfaction with some actions, actions of people: “To tell him what to sculpt peas against the wall”, “Hisses like a red-hot iron” and others. But if we like something, then the sayings are different. About a person who speaks convincingly, we say: “He said he tied it in a knot,” and about someone who tells us something pleasant, we say: “He says that he gives with a ruble.” They say about a person who lives well, richly, happily: “Like cheese in butter”.

The difference between proverbs and sayings is especially noticeable on the example of similar phrases. Assessing someone as a lover of someone else's work, a swindler, we say: "He loves to rake the heat with the wrong hands." In this phrase, the saying “rake the heat with the wrong hands” is used, there is neither generalization nor teaching. However, we can, speaking about the same, both teach and generalize: "It is easy to rake the heat with the wrong hands." And it will no longer be a flower-decoration, but a berry-judgment.

We say: “Both ours and yours”, “Miracles in a sieve”, “Shito is covered” - and these are sayings. However, the same phrases, with some, but very important changes easily turn into proverbs: “We will dance for ours and yours for a penny”, “Miracles: there are many holes in the sieve, but there is nowhere to get out”, “It is covered, but the bundle is here”.

Proverbs are folk wisdom, code of rules of life, practical philosophy, historical memory. What areas of life and situations they don’t talk about, what they don’t teach! Proverbs bring up patriotism in a person, a high feeling of love for native land, understanding of labor as the basis of life; they judge historical events, about social relations in society, about the defense of the Fatherland, about culture. They also summarize the everyday experience of the people, form their moral code, which determines the relationship of people in the region. family relations, love, friendship. Proverbs condemn stupidity, laziness, negligence, boasting, drunkenness, gluttony, praising intelligence, diligence, modesty, sobriety, abstinence and other qualities of a person necessary for a happy life. Finally, in proverbs - the philosophical experience of understanding life. “A crow cannot be a falcon” - after all, this is not about a crow and a falcon, but about the immutability of the essence of phenomena. “Burning nettle, but it will come in handy in cabbage soup” is not about nettle, from which you can really cook delicious cabbage soup, but about the dialectics of life, about the unity of opposites, about the ratio of negative and positive. The proverbs emphasize the mutual dependence and conditionality of phenomena.

The people very accurately described the proverbs, noting their connection with speech (“The crane is a proverb”), brevity (“There is a parable shorter than a bird's nose”), a special warehouse (“Not every speech is a proverb”), accuracy (“A proverb does not say past”) , truthfulness (“The proverb tells the truth to everyone”), wisdom (“Stupid speech is not a proverb”), popular opinion, from which no one can hide (“You can’t escape from the proverb”), it was explained that “There is no trial or reprisal against the proverb no,” even if she talks about something unpleasant, points to social ulcers, family and domestic vices.

There is a lot of poetry and beauty in proverbs; simple, small in volume, they surprise with their construction, wide use of linguistic means. Everything in proverbs and sayings is expedient, economical, every word is in place, and combinations of words give rise to new turns of thought, unexpected images. Proverbs are noticeable by their warehouse and mode. They say: "A good proverb is in harmony and in suit." “In harmony” means accuracy, fidelity to the expressed thought of life itself, and “in harmony” means smoothly, in accordance with the laws of beauty. They said: "It's okay, though it's not smooth."

A proverb, since it expressed a thought, a judgment, has always been a sentence, while a saying in most cases is part of a sentence. The proverb always had a subject and a predicate, and the saying was most often one of the members of the sentence - the subject, predicate, definition, circumstance. For example, the circumstance of the place: "went to hell in the middle of nowhere."

Sayings intonation, as a rule, are not divided into parts; most of the proverbs are two-part:

Praise the rye in a haystack

And the master is in the coffin.

Not a few and three- and four-part. For example, the peasants said about themselves:

The body is sovereign

Soul is God's

The back is a bar.

And here is an example of a four-part proverb:

The sun is setting -

The laborer is having fun

The sun is rising -

The bastard is going crazy.

The examples given indicate that proverbs were often built on the basis of a well-known compositional technique, such as syntactic parallel .

The relationship between the parts of the proverb is varied in meaning. Some proverbs are built on opposition, antithesis: "A man and a dog are always in the yard, and a woman and a cat are always in the hut." Some are built on synonymy:

The owner will pass through the yard -

The ruble will find

Will go back -

Find two.

Proverbs have found a good way to convey complex concepts and ideas. Feelings - through concrete, visible images, through their comparison. This explains the widespread use in proverbs and sayings comparisons. Here is how, for example, such abstract concepts as "good" and "evil" are expressed with their help: "The bad - in armfuls, the good - in a pinch." Or “happiness” and “unhappiness”: “A happy free bird: where she wants, there is a village”, “Happiness is on wings, misfortune is on crutches”.

Comparisons in proverbs and sayings have a wide variety of forms. Either they are built with the help of the unions “how”, “what”, “exactly”, “as if” (“It spins like it sat on a hedgehog”), then they are expressed in the instrumental case (“The heart crowed like a rooster”), then they were created using syntactic parallelism ( “Cancer has power in the claw, the rich man has power in the purse”). There are non-union forms of comparisons (“Another soul is a dark forest”), negative comparisons (“not in the eyebrow, but right in the eye”).

Favorite artistic means of proverbs and sayings are metamorphosis, personification:"Hops make noise - the mind is silent", "Killed two birds with one stone" and so on.

All proverbs and sayings are divided into three groups. The first group includes proverbs and sayings that do not have an allegorical, figurative meaning. There are many of them: "All for one, one for all", "Do not praise yourself - there are smarter than you." The second group is formed by those proverbs and sayings that can be used both literally and figuratively: “Forge the iron while it’s hot”, “Do you like to ride, love to carry sleds”. The third group includes proverbs and sayings that have only allegorical and figurative meaning. Proverbs: “To live with wolves - to howl like a wolf”, “The pig put on a collar and thinks - a horse”, “No matter how cheerful the duck is, not to be a swan”, are used only in a figurative sense.

Like no other genre of folklore, proverbs tend to metonymy, synecdoche, helping in one single object or phenomenon, or even in their part, to see a lot, in common: "One with a bipod, seven with a spoon." Contribute to enhancing the impression hyperbole, litote, as a result, fantastic, incredible pictures often appear: “Whoever has happiness, his rooster will cock”, “They climb out of their skin”. These are often used artistic techniques, how tautology(“Everything is great for a healthy person”, “They don’t look for good from good”), synonymy("And crooked, and askew, and ran to the side").

Proverbs and sayings love to play names. Often, names are given for the "warehouse", rhyme, but there are a number of names behind which the image, character is recognized. The name of Emelya is associated with the idea of ​​a chatterbox (“Emelya is an empty talker”), Makar is a loser (“They will send him where Makar did not drive calves”, and “Ivanushka is a fool - seemingly a simpleton, on his mind.”)

All artistic means in proverbs and sayings "work" to create their accurate, sparkling poetic content. They contribute to the creation of an emotional mood in a person, causing laughter, irony, or, conversely, the most serious attitude to what they are talking about. Proverbs and sayings do not know narrative intonations, they, these intonations, as a rule, are exclamatory, often arise on the convergence of incompatible objects, phenomena, concepts (“Ask the dead for health”, “Wider mud, manure is coming!”).

The need to clearly, clearly express judgments, a sentence, to make them both instructive and based on wide experience, will explain the choice of certain types of sentences for proverbs. These are often generalized personal sentences with active use of verbs in the second person singular. (Don't teach a pike to swim"); we often see in proverbs verbs in the infinitive form (“To live life is not to cross a field”).

For brevity, unions are often avoided, and therefore, in the form of proverbs, most often there are or simple sentence, or unionless complex.

Proverbs and sayings are the oldest genres of oral folk art. They are known to all peoples of the world, including those who lived a long time ago, BC - the ancient Egyptians, Romans, Greeks. The earliest ancient Russian literary monuments conveyed information about the existence of proverbs and sayings among our ancestors. In the "Tale of Bygone Years", an ancient chronicle, a number of proverbs are recorded: "The place does not go to the head, but the head to the place", "The world stands before the army, and the army - before the world."

Some proverbs, sayings, bearing the stamp of time, are now perceived outside the historical context in which they arose, and often we modernize them without thinking about the ancient meaning. We say: “He planted a pig”, that is, he did something unpleasant to someone, prevented ...

But why is “pig” perceived as something negative, unpleasant? Researchers associate the origin of this saying with the military tactics of the ancient Slavs. The squad with a wedge, like a "boar", "pig" head, crashed into the enemy's formation, cut it into two parts and destroyed it.

We say: “He likes to put things on the back burner”, and the “long drawer” is a special box where our ancestors could put requests, complaints to the king, but which were sorted out extremely slowly, for a long time, hence the “long drawer”. When our deeds are bad, we say: "The deed is tobacco." And the saying comes from the custom of barge haulers to hang a tobacco pouch around their necks. And when the water reached the barge haulers up to the neck, that is, it became bad, it was difficult to walk, they shouted: “Tobacco!”.

But, of course, there are many proverbs, sayings, the historical signs of which are visible without any special comments, for example: “Empty, as if Mamai has passed”, “Here you are, grandmother, and St. George’s Day” and others.

Scientists believe that the first proverbs were associated with the need to fix some unwritten advice, rules, customs, laws in the minds of a person, society. They said: "Remember the bridge and the ferry." And that meant: don't forget to take money with you when you go on the road - at the crossing points, at the bridges, a toll was collected. They noted: if March is snowless and May is rainy, then there will be a harvest, and they said: “Dry March, and wet May make good bread.”

However, the found form of fixing any advice, rules, customs, laws did not remain within the framework of utilitarian, purely practical use. The edification of ancient proverbs could also correspond to educational tasks, and therefore, within the boundaries of the created tradition, works began to appear in which the moral, moral experience of generations was generalized and transmitted. The vast majority of proverbs were created for the purpose of education; many testify to their role in the social, class struggle.

The source of proverbs and sayings is the most diverse, but first of all we must name the people's direct observations of life. Quite a few proverbs and sayings have already been cited, the origin of which can be associated with the military and civilian life of Ancient Russia of a later time. At the same time, both folklore and literature are the source of proverbs and sayings.

New proverbs could be created on the basis of old ones. This process is obviously old, but it is especially noticeable in the example of proverbs that arose in Soviet time. So the proverb “Trust for the tractor, but don’t leave your horse” was created in the image of the proverb “Trust in God, but don’t make a mistake yourself.” And the proverb “Learn, soldier, you will be a commander” - “Be patient, Cossack, you will be an ataman.”

O creative processes occurring inside the proverbs and sayings themselves, says the presence of variants and versions among them. Many, for example, know the proverb "It's not a wolf - it won't run away into the forest." However, there are variants of this proverb: "It's not a raspberry - it won't crumble in the summer", "It's not a dove - it won't scatter."

One and the same proverb can be varied this way and that way and as a result get a version with a different meaning. The proverb “Slower ride - you will continue” is widely known, but there are also versions: “Slower ride - you will never reach”, “Slower ride - you will be farther from the place where you are going.”

Some sayings owe their birth to the proverbs themselves, other genres of oral folk art. You use the saying "Hunger is not an aunt", but there was a proverb "Hunger is not an aunt - she will not slip a pie." The proverb "Like water off a duck's back" owes its origin to an ancient spell used to speak to the sick: "Like water off a duck's back, so thinness is from you." Some sayings were born from fairy tales.

“Blood with milk” - there is such a saying, but remember how Ivan the Fool bathes in boiling milk and becomes so handsome that a fairy tale can’t be described with a pen. “From the shoulders to the oven” - we are talking about a person who has done a rash act, and this is from a fairy tale about a lazy wife who, thinking that her husband bought her a new shirt, throws the old one into the oven. “He cuts soles on the go” - we admire a person who grasps everything on the fly, but this saying is from a fairy tale about a clever thief.

One of the sources of proverbs and sayings is a fable, a fable. especially fables

I. A. Krylova. Who does not know his proverbs! “And the casket just opened”, “And Vaska listens and eats”, “Ay, Pug, you know she is strong, if she barks at an elephant”, “You are gray, and I, buddy, are gray”.

Proverbs and sayings that arose in ancient times are actively living and being created today. These are the eternal genres of oral folk art. Of course, not everything that was created and is being created in the 20th century will stand the test of time, but the need for linguistic creativity, the ability of the people for it, is a true guarantee of their immortality.

Sholokhov M.A. wrote:

"We need diversity human relations, which are imprinted in chased folk sayings and aphorisms. From the abyss of time, in these clumps of reason and knowledge of life, human joy and suffering, laughter and tears, love and anger, faith and unbelief, truth and falsehood, honesty and deception, diligence and laziness, the beauty of truths and the ugliness of prejudices have come down to us.

Biography of the poet.

The great Russian poet N. A. Nekrasov was born on December 10, 1821 in the town of Nemirovo, Kamenetz-Podolsk province. His father, Alexei Sergeevich, a poor landowner, served at that time in the army with the rank of captain. In the autumn of 1824, having retired with the rank of major, he settled with his family in the family estate of Greshnevo, Yaroslavl province, where Nekrasov spent his childhood.

From his father, Nekrasov inherited strength of character, fortitude, enviable stubbornness in achieving his goal, and from an early age he was infected with a hunting passion, which contributed to his sincere rapprochement with the people. In Greshnev, the future poet's heartfelt attachment to the Russian peasant began. At the estate there was an old, neglected garden, surrounded by a blind fence. The boy made a loophole in the fence, and in those hours when his father was not at home, he invited the peasant children to him. Nekrasov was not allowed to be friends with the children of serfs, but having improved a convenient moment, the boy ran away through the same loophole to his village friends, went with them into the forest, swam with them in the Samarka River, and made mushroom raids. The manor's house stood right next to the road, and the road was crowded and lively at that time - the Yaroslavl-Kostroma high road. Everything that walked and rode along it was known, starting with postal troikas and ending with prisoners in chains, accompanied by escorts. Young Nekrasov also, having secretly escaped the fence of the estate, got acquainted with all the working people - with stove-makers, painters, blacksmiths, diggers, carpenters, who moved from village to village, from city to city in search of work. The children eagerly listened to the stories of these experienced people. Greshnevskaya road was for Nekrasov the beginning of the knowledge of the noisy and restless people's Russia. The poet's nanny was a serf, she told him old Russian folk tales, the very ones that had been told in every peasant family every peasant child.

In the character of Nekrasov himself, since childhood, the spirit of truth-seeking, inherent in his countrymen, Kostroma and Yaroslavl, has taken root. The people's poet also took the road of a "otkhodnik", only not in a peasant, but in its noble essence. Early began to be burdened by feudal arbitrariness in his father's house, early began to declare disagreement with his father's way of life. In the Yaroslavl gymnasium, where he entered in 1832, Nekrasov completely devoted himself to the love of literature and theater acquired from his mother. The young man read a lot and tried his hand at the literary field. The father did not want to pay for his son's education in the gymnasium, he quarreled with the teachers. The teachers were bad, ignorant and required stupid cramming. Nekrasov read whatever he had to, mainly the magazines of that time. In the gymnasium, the boy first discovered his vocation as a satirist when he began to write epigrams to teachers and comrades. In July 1837, Nekrasov left the gymnasium. At that time, he already had a notebook of his own poems, written in imitation of the then fashionable romantic poets - Zhukovsky and Podolinsky.

Against the will of the father, who wanted to see his son in the military educational institution, Nekrasov decided, on the advice of his mother, to enter St. Petersburg University. Unsatisfactory preparation at the Yaroslavl school did not allow him to pass the exams, but the stubborn young man decided to become a volunteer. For two years he attended classes at Faculty of Philology. Upon learning of his son's act, A.S. Nekrasov became furious and deprived his son of any material support. Nekrasov lived in poverty for five years.

In 1843, the poet met with Belinsky, who was passionately carried away by the ideas of the French utopian socialists, stigmatizing the social inequality existing in Russia. He fell in love with Nekrasov for his irreconcilable hatred of the people's enemies. Under his influence, Nekrasov for the first time turned to real stories suggested to him by real life - he began to write more simply, without any embellishment, about the most seemingly ordinary, ordinary phenomena of life, and then his fresh, versatile and deeply truthful talent immediately appeared in him.

Gogol was another teacher for Nekrasov. The poet worshiped him all his life and put him next to Belinsky. “Love while hating” - Nekrasov learned this from his great mentors.

At the end of 1846, N. A. Nekrasov, together with the writer Ivan Panaev, rented the Sovremennik magazine, founded by Pushkin. In Sovremennik, Nekrasov's editorial talent flourished, rallying the best literary forces of the 1940s and 1960s around the magazine.

Beginning in 1855, the highest flowering of Nekrasov's work began. He finished the poem "Sasha", branded with contempt the so-called " extra people”, that is, liberal nobles who expressed their feelings for the people not with deeds, but with loud phrases. Then he wrote "The Forgotten Village", "Schoolboy", "Unfortunate", "Poet and Citizen". These works revealed powerful forces in their author. folk singer. Nekrasov became the favorite poet of the democratic intelligentsia, which at that time became an influential social force in the country.

The merit of Nekrasov as an editor before Russian literature lies in the fact that, having a rare aesthetic flair, he acted as a pioneer of new literary talents. Thanks to him, the first works of A. N. Tolstoy "Childhood", "Adolescence", "Youth" and "Sevastopol Stories" appeared on the pages of Sovremennik. In 1854, at the invitation of Nekrasov, N. G. Chernyshevsky became a permanent employee of Sovremennik, and then literary critic N. A. Dobrolyubov.

At the beginning of 1875, N. A. Nekrasov fell seriously ill. Neither the famous Viennese surgeon Billroth, nor the painful operation could stop the deadly cancer. It's time for summing up. Popular support strengthened his strength, and in a painful illness he creates " Latest songs". Nekrasov understands that with his work he paved new paths in poetic art. Only he dared to inadmissible, at the last stage of the development of Russian poetry, stylistic impudence, to a bold combination of elegiac, lyrical and satirical motifs within one poem. He makes a significant update of the traditional genres of Russian poetry.

Nekrasov died on December 27, 1877. There was a spontaneous demonstration at the funeral. Several thousand people accompanied his coffin to the Novodevichy cemetery.

Poem "To whom it is good to live in Russia".

1) The emergence of an idea.

N. A. Nekrasov, a poet and journalist, was an active participant in the liberation movement and understood its significance. This favored the emergence of the concept of the epic. Nekrasov described the events contemporary to him. The idea of ​​the legitimacy of the image in the epic genre of modern heroic events that have a nationwide and global importance, was expressed by Nekrasov in a review of the brochure by I. Vanchenko.

The events that caused the revolutionary situation of 1859 - 1861, the abolition of serfdom, all that marked the beginning of the era of preparation for the revolution in Russia, contributed to the creation of a plot about the desire of disadvantaged peasants to find a better, happy life. After the reform, hundreds of thousands of peasants, freed from serfdom and deprived of their land-breadwinner, left their native villages and went to the cities to build railways and factories.

The emergence of an idea could precede the subjective readiness to implement it. Nekrasov said that in this book he wanted to put all his experience in studying the people, "all the information about him, accumulated by word" for 20 years.

The poet wrote “To whom it is good to live in Russia” was conceived as an assurance, as a synthesis of all creativity; the success of working on it was ensured by the ability to look at life through the eyes of the people, speak their language, write about their taste.

The study creative history“Who lives well in Russia” gives us the right to say that the beginning of Nekrasov’s path to the epic is in the novels: “The Life and Adventures of Tikhon Trostnikov”, “Three Countries of the World”, “The Thin Man, His Adventures and Observations” ... They first manifest the desire portray all of Russia from the Baltic to Alaska, from the Arctic Ocean to the Caspian Sea, see the diversity of folk types, treat with great attention and sympathy for people who have an "energetic character and mind", the ability to express folk ideals. Here, too, that special artistic variety of artistic vision is manifested, which will be improved and become the most important component of the epic form of objectivity.

The development of Nekrasov's creativity is characterized by three directions that prepared the possibility of creating an epic. First of which are poems and lyrical-epic poems about "heroes of active good." The development of realism in these works went from documentary to epic. The heroism of the period of preparation for the Russian revolution was manifested in the action of the peasants and workers against their masters, in the selfless activity of the revolutionary democrats who were preparing the peasant revolution.

Second the direction of creative searches and accomplishments on the outskirts of the epic is marked by the poems "Pedlars", "Frost, Red Nose". Nekrasov created works about the people and for the people. the ability to see life through the eyes of their characters, to speak their language, necessary to create an epic, was also improved in subsequent works: "Duma", "Funeral", "Peasant Children" and so on. The epic form of objectivity is often combined in them with the dramatic and lyrical.

Third direction creative evolution the poet, preparing the creation of a new variety of the epic genre, form the poems “Reflections at the front door”, “Silence”. "On the Volga" and others - lyrical in the way of perception and ethical assessment of phenomena and epic in the expression of thoughts and feelings.

Nekrasov's epic "Who is living well in Russia" consists of 8866 verses (the novel "Eugene Onegin" by Pushkin - from 5423), written mainly in three-foot unrhymed iambic, with a special flexible foot.

The idea “Who should live well in Russia” arose from Nekrasov under the influence of the liberation movement, which caused the abolition of serfdom. It was the idea of ​​“the era of modern peasant life with the main character and the way of artistic vision corresponding to the genre. Development artistic action It was planned in a fabulously conditional form, in accordance with the needs of the people and the growth of their consciousness.

2) The image of the people.

People - main character epics. The word “people” sounds in it very often, in various combinations: “they were surrounded by the people”, “gathered, listening”, “the people go and fall”, “the people will believe Girin”, “the people told”, “the people are silent”, “the people see”, “the people scream”, “the Russian people gather with strength” and so on. The word "people" sounds like the name of the main character.

In the poem “To whom it is good to live in Russia”, the image of the people is conditional. The people manifest themselves in mass scenes: at a fair in the village of Kuzminskoye, at a rural gathering, on the city market square, on a Volga meadow, in a feast scene for the whole world, they appear as something unified, whole, not imaginary, but real. He is seen by seven men traveling around Russia in search of a happy one. And an important role in creating the image of the people is played by people's self-consciousness, which appears in folklore, in popular rumor. The appearance of mass scenes, in which the people are seen as something united, is motivated by the development of the plot.

Improving the epic ways of artistic vision, Nekrasov strengthened the nationality of the work. Poet looks at the event through the eyes of a revolutionary democrat, a defender of the "working classes", through the eyes of an insightful researcher of folk life, through the eyes of an artist who has the gift of transforming into the characters portrayed.

The narrator in the epic is difficult to distinguish from the author. Nekrasov endowed him with many personal qualities, including a special insight into his gaze, the ability to comprehend what and how his male companions see during their journey through Russia, what they think about what they see; endowed them with the ability to speak on their behalf, without distorting either their views or their manner of speech.

When seven wanderers came to the holiday-fair in the village of Kuzminskoye, there was “apparently - invisible to the people” everyone. This huge mass of people is something inseparable from the festive square, as well as from that crowded, voiceless road, which “hums with folk rumor”, like “the blue sea”, like “violent winds”. The wanderers and the narrator, inseparable from them, are inside the many-voiced mass, as if merging with it. They not only hear the rumble of popular rumor, but also distinguish individual replicas of peasants and women, the words of their songs.

Unnamed remarks are different in content and meaning, sometimes it is playful, salty masculine humor, when well-aimed judgments about topical phenomena public life presented in the allegorical form of riddles, signs, proverbs.

The motley, noisy crowd in the scenes of the fair is related and united not only by the general festive mood, but also by the general idea of ​​\u200b\u200b"valiant prowess" and "girlish beauty". As something united common love to justice, intelligence and kindness, the people are depicted in the scene of a village gathering, electing Yermira Grinin as a steward. A single mass, united by trust in Grinin, by the desire to support him in the fight against the merchant Altynnikov and officials.

The people are seen as a single mass in the picture of the “feast for the whole world” taking place at the crossroads in the village of Bolshie Vakhlaki. Here unites the common joy of liberation from serfdom, from the oppression of the landowner Utyatin and a common dream of a better, happy life.

The people are thought about and seen in their own way not only by the seekers of the happy and the narrator who accompanies them, but also by the alleged happy ones: the priest, the landowner, the peasants Yakim Nagoi, Ermil Girin, Savely Korchagin, Matrena Timofeevna, the people's protector Grisha Dobrosklonov. This enhances the impression of epic objectivity and the versatility of the image of the people.

For the priest, the people are the peasants of his parish. In the post-reform period, when many landowners left their family homes and moved to the cities, the priest was forced to be content only with the income from the peasants and involuntarily noticed their poverty.

“A Feast for the Whole World” is the last mass scene in a series of those in which the image of the people, the main character of the epic, is created. The people in this scene are most active - they celebrate the last wake. The spiritual, creative activity of the Vakhlaks is reflected in their attitude to folklore, in the renewal of well-known folklore works, in the creation of new ones. Vakhlaks together sing folk songs: “Corvee”, “Hungry”, carefully listen to the story: “About an exemplary serf - Jacob the Faithful”, the legend “About two great sinners”, a song about the soldier “Ovsyannikov”.

3) Heroes from peasants.

Yakim Nagoi from the village of Bosovo stands out from the mass of peasants present at the festival-fair in the village of Kuzminsky, not by his surname, not by the name of his village from both, and the other is ambiguous, but by the insight of the mind and the talent of the people's tribune. Yakim's speech about the essence of the Russian peasantry serves to create a collective image of the people, and at the same time characterize Yakim himself, his attitude towards workers and "parasites".

This is the main way to characterize the characters of "Who Lives Well in Russia". It is also used in the stories of fellow villagers about Yakima. The reader will learn that Yakim Nagoi was both a plowman and a St. Petersburg otkhodnik worker. Already in those St. Petersburg years, Yakim selflessly defended the interests of his fellow workers in their struggle against the exploiters, but to no avail.

I wanted to compete with merchants!

Like a peeled Velcro,

He returned to his home

And took up the plow.

Since then, it has been roasting for thirty years

On the strip under the sun...

In the stories of fellow villagers, it turns out that Yakim Nagoi loves art. There are pictures everywhere in his hut. Yakima's love for the beautiful was so strong that during a fire, he first of all began to save pictures, not money. The money burned down (more precisely, it decreased in value - it was gold coins), and the pictures were saved, later even increased.

The speech of Yakim and the stories of fellow villagers about him are listened to by the whole crowded square, and with it the seven seekers of happiness. The poet sees Yakim Nagoy through the eyes of plowmen like him, through the eyes of the ethnographer Pavlusha Veretennikov:

Chest sunken as if depressed

Stomach; at the eyes, at the mouth

Bends like cracks

On dry ground;

And myself to mother earth

He looks like; neck brown

Like a layer cut off with a plow,

brick face,

Cook - tree bark,

And hair is sand.

The portrait of a peasant is painted with paints borrowed from mother earth, the breadwinner earth. From the earth and the strength of Yakim Nagogo. This unprepossessing in appearance, the wise plowman is similar to the legendary, mythical heroes.

The peasant Fedosey tells the wanderers about Yermil:

And you would, dear friends,

Ask Ermila Grinin, -

He said, sitting down with strangers,

Villages Dymoglotovka

Peasant Fedosey ...

The question of wanderers “And who is Yermil?” aroused the surprise of the countrymen of the hero:

“How are you Orthodox!

Do you not know Yermila?

Jumping up, they responded

About a dozen men.

We don't know! -

Well, it means from afar

you came to our side!

We have Ermila Grinin

Everyone in the area knows."

Ermil Ilyich stands out among his countrymen for his strict truth, intelligence and kindness, exacting conscience and loyalty to the interests of the people. Exactly these high quality Yermila and are glorified by the rumor of the people, but for deeds in which the virtues honored by the people manifested themselves, he sits in prison.

Fedosey's story about Ermil Girin, as about Yakim Nagom, is listened to by wanderers in a crowded square in the presence of many countrymen who know him well. Silently agreeing with the narrator, the listeners, as it were, confirm the veracity of what was said. And when Fedosey violated the truth, his story was interrupted: “Stop!”.

In the completed version, the collective replica of the peasants was handed over to the “average priest” close to them. He knows Yermila Girin well, loves and respects him. Pop did not confine himself to a remark, but made an essential remark to what was said by Fedosey; he said that Yermil Girin had been imprisoned. This story is cut short, but it follows from it that Yermil tried to protect the participants in the rebellion in the patrimony of the landowner Obrukov. Persecuted by the authorities, the “gray-haired priest” speaks of everyone’s favorite as a person who is no longer there “Yes! There was only one man...

A characteristic feature of the epic genre of the story of Fedosey and the “gray ass” is that Yermil Girin appears in them, on the one hand, in relations with a mass of peasants who elect him as a steward, helping him in the fight against the merchant Altynnikov, in relations with rebellious peasants from the estates of the landowner Obrukov, on the other hand, in relations with the merchant Altynnikov and bribed officials, as well as, in all likelihood, with the suppressors of rebellious fellow countrymen.

The epic nature of the form of objectivity in the creation of the image of Ermila Girin is manifested in the fact that the stories about him are checked by the world and supplemented by the world, as well as in popular rumor. Praising him happy.

4) The image of Grisha Dobrosklonov.

The young life of Grisha Dobrosklonov is all in sight. The reader knows the hero's family, the life of his native village, the living conditions in the bursa. Grisha Dobrosklonov by origin, experience of a poor life, friendly relations, habits, aspirations and ideals is connected with his native Vakhlachina, with peasant Russia.

Grisha comes to the Vakhlakov feast at the invitation of Vlas Ilyich, his spiritual, godfather, who is loved and respected by his fellow villagers for his intelligence, incorruptible honesty, kindness and disinterested devotion to worldly interests. Vlas loves his godson, caresses him, takes care of him. They consider Grisha, his brother Savva and other Vakhlaks to be their relatives. The plowmen ask the Dobrosklonovs to sing "Merry". The brothers are singing. The song sharply denounces the feudal landowners, bribe takers and the tsar himself. The pathos of the denunciation is intensified by the ironic refrain that completes each verse: “It is glorious to live for the people in holy Russia!”. This refrain apparently served as the basis for the ironic title of the song "Merry", despite its sad, bleak content. Vakhlaks learned "Veselaya" from Grisha. Who is its author, it is not clear, it is very possible that he also composed this song. But it did not become a folk song, going from the heart of the writer and performer to the heart of the people, since no one understood its essence.

Indicative of the image of Grisha is his conversation with fellow countrymen, saddened by the unforgivable Judas sin of the elder Gleb, for which they, as peasants, considered themselves responsible. Grisha managed to convince them that they were not "respondents for the accursed Gleb."

The poet carefully perfected the style, the form of Dobrosklonov's original propaganda speech.

“There is no support - there is no landowner ...

No support - Gleb new

Will not be in Russia!

The ideas of determinism were promoted revolutionary democrats in order to raise the oppressed to an active struggle against the hostile circumstances of post-reform life. In the original version, in the manuscript stored in the "Pushkin House", the impression made by Grisha's speech on the audience was told from the author. In the final text, it is expressed in a form more appropriate to the genre of the epic - in the folk rumor: "It's gone, the crowd is picked up, Oh, strengthen the word right to talk:" There is no snake - There will be no snakes! The "true word" of the people's intercessor entered the minds of the peasants; in the nameless popular rumor, the replicas of Prov, the deacon, and the judicious elder Vlas stand out. Prov advises his comrades: "Move on with your mustache!" The deacon admires: “God will create a little head!”. Vlas thanks his godson.

Grisha's response to Vlas's good wishes, as well as his enlightening speech, was carefully improved. Nekrasov strove to show the cordiality of the relationship of the intercessor of the people with the peasants, and at the same time the difference in their understanding of happiness. The cherished dream of Grisha Dobrosklonov goes much further than the idea of ​​\u200b\u200bhappiness, which is expressed in the good wishes of Vlas. Grisha strives not for personal wealth, but for Om, so that his fellow countrymen "and every peasant Live freely and cheerfully In all of holy Russia." His personal happiness lies in achieving the happiness of the people. This is a new, higher level of understanding of human happiness for the Nekrasov epic.

The feast ended at dawn. The Vahlaks went home. Wanderers and pilgrims fell asleep under the old willow. Savva and Grisha went home and sang with inspiration:

The share of the people

his happiness,

Light and freedom

Primarily!

In the completed version of "Feast ..." this song serves as an introduction to the subsequent development of the image of the "people's protector". In the "Epilogue" the story about Grisha is told by the author himself, without the participation of seven companions. Outwardly, this is motivated by the fact that they sleep under an old willow. The author correlates the character of the hero not only with the conditions of life in native family, with the life of his native Vakhlachina, but also with the life of all of Russia, with the advanced ideals of all mankind. Such a broad, epic correlation of ideals young hero"active goodness" with universal ideals is carried out in the lyrical reflection "Pretty demon of joy" and in the song "Among the world of the valley", which characterize the author himself. Grisha is seen in them as the author, as if from the outside, walking "the narrow road, the honest road" together with his like-minded people.

the beauty inner world, the creative talent and sublimity of Grisha Dobrosklonov's aspirations were most clearly and most convincingly revealed in his three songs. The feelings and thoughts of the young poet, expressed in the song “In moments of despondency, O Motherland!”, are genetically linked with impressions of a worldly feast. These feelings and thoughts are the most active elements of that national self-consciousness, which was looking for its manifestation in stories and legends about serfdom, about who is the sinner of all, who is the saint, expressed in the joyful dreams of the Vakhlaks about a better future.

Sad memories of the distant past, when "A descendant of the Tatars, like a horse, brought a Slav slave to the market", about the recent lack of rights for serfs, when "a Russian maiden was dragged to shame" and as if "set" caused horror, are replaced in the poet's soul by joyful hopes:

Enough! Finished with the last calculation,

Done with sir!

The Russian people gather with strength

And learning to be a citizen...

In the same epic range, covering the gloomy and bright, sad and joyful sides of the life of an individual working person and the whole people, the whole country, Dobrosklonov reflects on the barge hauler and about Russia. The barge hauler, met by Grisha on the banks of the Volga, walked with a festive gait, in a clean shirt ... But the young poet imagined a barge hauler in another form, when

Shoulders, chest and back

He pulled a whip barge ...

From the barge hauler, the thought of the young poet passed to the people, “to all mysterious Russia” and was expressed in the famous song “Rus”, which is the poetic result of reflections on the people and the Motherland not only by Grisha Dobrosklonov, but also by the author of the epic.

The strength of Russia is in the innumerable people's army, in creative work. But the process of self-awareness of the people, getting rid of slavish obedience and psychology, from wretchedness and impotence was slow.

The song "Rus" is the result of the hero's thoughts about his homeland and people, his present and future. This is a great and wise truth for the Russian people, the answer to the question posed in the poem.

The truth about Russia and the Russian people, which was reflected in the song "Rus", which concludes the poem "Who Lives Well in Russia", makes it is in the people to see the force capable of reorganizing life:

The army rises

innumerable,

The strength will affect her

Invincible!
Saved in bondage

Free heart -

Gold, gold

The heart of the people!

The assimilation of the heart to gold spoke not only of its value, but also of fieryness. The color of gold is like the color of a flame. This image could not be removed from the song. With him, by association, is associated the image of a spark hiddenly burning in the chest of Russia, that spark from which the flame of the revolutionary transformation of Russia could flare up, wretched - into abundant, downtrodden - into omnipotent.

Conclusion

The epic "Who should live well in Russia" was a worthy finale of the epic work of N. A. Nekrasov. The composition of this work is built according to the laws of the classical epic. The author's intention of the poem remained unfulfilled. The peasants still do not know and cannot know “what is happening with Grisha”, who feels happy. But the reader knows this. The plan of the work is not finished, but the epic nature of the content, the plot, and the way it develops have been determined. The artistic vision of the hero was finally determined.

The reader, together with Grisha, see the protagonist of the epic, see how “the army rises - innumerable”, see that “the force will affect it - indestructible” and believe because they know Savely, the Holy Russian hero, Matryona Timofeevna, Yermila Girin and other “plowmen ”, possessing an “energetic mind and character”. They believe because they see people's defenders, selflessly walking "the forest road, the honest road to battle, to work," they hear their inspired calls. This is the essence of the artistic discovery of people's life, which was characterized by the beginning of the preparations for the revolution in Russia. It became the discovery of a variety of the epic genre that meets its stable requirements.

The age-old aspiration of the Russian poets preceding Nekrasov came true - literature was enriched with an innovative poetic variety of the epic genre. As a result of her research, we can say: the epic of modern times is a great poem or prose piece of art, which reflects an event of national and universal significance. The main character of the epic is the people. The basis of the artistic vision of the work is the people's worldview.

The epic differs from other genres in the breadth and completeness of the image of the life of the people, a deep understanding of the people's ideals, the inner world of the heroes. The epic genre is characterized by assertive pathos. The epic genre lives and develops: " Quiet Don» M. A. Sholokhova and others.

In the poem "To whom it is good to live in Russia" N. A. Nekrasov poetically beats proverbs, widely uses permanent epithets, but most importantly, he creatively reworks folklore texts, revealing the potentially revolutionary, liberating meaning embedded in them. Nekrasov extraordinarily expanded the stylistic range of Russian poetry, using colloquial speech, folk phraseology, dialectisms, boldly included various speech styles in the work - from everyday to journalistic, from folk vernacular to folklore-poetic vocabulary, from oratory-pathetic to parodic-satirical style.

List of used literature:

1. 
   "Russian folk riddles, proverbs, sayings "- Compiled by Yu.G. Kruglov, M.: Enlightenment, 1990
2. 
   "Proverbs of the Russian people" - V.I. Dahl, M.: 1984
3. 
   “Proverbs, sayings, riddles” - Compiled by A.I. Martynova and others, M.: 1986
4. 
   "Russian proverbs and sayings" - Compiled by A.I. Sobolev, M.: 1983
5. 
   “On the work of N.A. Nekrasov" - L.A. Rozanova - a book for teachers, M .: Education, 1988
6. 
   N. A. Nekrasov “Who should live well in Russia”.
7. 
   "The creative path of Nekrasov" - V.E. Evgeniev-Maksimov, M.; L., 1953
8. 
   “Nekrasov’s poem “Who should live well in Russia” - A.I. Gruzdev, M.; L., 1966
9. 
   “Commentary on Nekrasov’s poem “Who should live well in Russia” - I.N. Kubikov, M.: 1933