Features of the ring composition in the heroes of our time. Artistic features of the novel “A Hero of Our Time”
He ran into life as a Ryazan simpleton, Blue-eyed, curly-haired, fair-haired, With a perky nose and a cheerful taste, Drawn to the pleasures of life by the sun. But soon the rebellion threw its dirty lump into the radiance of the eyes. Poisoned by the bite of the Serpent of rebellion, he slandered Jesus, tried to make friends with the tavern... In the circle of robbers and prostitutes, Languishing from blasphemous jokes, He realized that the tavern was disgusting to him... And Yesenin again revealed to God, repenting, the canopy of his frantic soul, Pious Russian hooligan...
Igor Severyanin
The work of Sergei Yesenin, uniquely bright and deep, has now firmly entered our literature and enjoys great success among numerous readers. The poet's poems are full of heartfelt warmth and sincerity, passionate love to the boundless expanses of his native fields, the “inexhaustible sadness” of which he was able to convey so emotionally and so loudly.
Sergei Yesenin entered our literature as an outstanding lyricist. It is in the lyrics that everything that makes up the soul of Yesenin’s creativity is expressed. It contains the full-blooded, sparkling joy of a young man rediscovering amazing world, subtly feeling the fullness of earthly charm, and the deep tragedy of a person who remained for too long in the “narrow gap” of old feelings and views. And, if in best poems Sergei Yesenin - “flood” of the most secret, most intimate human feelings, they are filled to the brim with the freshness of the paintings native nature, then in his other works there is despair, decay, hopeless sadness. Sergei Yesenin is, first of all, a singer of Rus', and in his poems, sincere and frank in Russian, we feel the beating of a restless, tender heart. They have a “Russian spirit”, they “smell of Russia”. They absorbed the great traditions of national poetry, the traditions of Pushkin, Nekrasov, Blok.
Even in love lyrics Yesenin's theme of love merges with the theme of the Motherland. The author of "Persian Motifs" is convinced of the fragility of serene happiness away from native land. AND the main character the cycle becomes distant Russia: “No matter how beautiful Shiraz is, it is no better than the expanses of Ryazan.” Yesenin met with joy and warm sympathy October Revolution. Together with Blok and Mayakovsky, he took her side without hesitation. The works written by Yesenin at that time ("Transfiguration", "Inonia", "Heavenly Drummer") are imbued with rebellious sentiments. The poet is captured by the storm of the revolution, its greatness and strives for something new, for the future. In one of his works, Yesenin exclaimed: “My mother is my homeland, I am a Bolshevik!” But Yesenin, as he himself wrote, perceived the revolution in his own way, “with a peasant bias,” “more spontaneously than consciously.” This left a special imprint on the poet’s work and largely predetermined it. further path. The poet's ideas about the purpose of the revolution, about the future, about socialism were characteristic. In the poem "Inonia" he depicts the future as a kind of idyllic kingdom of peasant prosperity; socialism seems to him a blissful "peasant paradise." Such ideas were reflected in other works of Yesenin of that time:
I see you, green fields,
With a herd of dun horses.
With a shepherd's pipe in the willows
Apostle Andrew wanders.
But the fantastic visions of peasant Inonia, naturally, were not destined to come true. The revolution was led by the proletariat, the village was led by the city. “After all, the socialism that is coming is completely different from what I thought,” Yesenin declares in one of his letters from that time. Yesenin begins to curse the “iron guest”, bringing death to the patriarchal village way of life, and to mourn the old, passing “wooden Rus'”. This explains the inconsistency of Yesenin’s poetry, who went through a difficult path from the singer of patriarchal, impoverished, dispossessed Russia to the singer of socialist Russia, Leninist Russia. After Yesenin’s trip abroad and to the Caucasus, a turning point occurs in the poet’s life and work and is marked new period. She makes him fall in love with his socialist fatherland more deeply and strongly and appreciate everything that happens in it differently."...I fell even more in love with communist construction," Yesenin wrote upon returning to his homeland in the essay "Iron Mirgorod." Already in the cycle “Love of a Hooligan,” written immediately upon arrival from abroad, the mood of loss and hopelessness is replaced by hope for happiness, faith in love and the future. The wonderful poem “A blue fire swept up...”, full of self-condemnation, pure and tender love, gives a clear idea of the new motives in Yesenin’s lyrics:
A blue fire began to sweep,
Forgotten relatives.
For the first time I sang about love,
For the first time I refuse to make a scandal.
I was all like a neglected garden,
He was averse to women and potions.
I stopped liking singing and dancing
And lose your life without looking back.
Yesenin's creativity is one of the brightest, deepest exciting pages history of Russian literature. Yesenin's era has receded into the past, but his poetry continues to live, awakening a feeling of love for his native land, for everything close and different. We are concerned about the sincerity and spirituality of the poet, for whom Rus' was the most precious thing on the entire planet.
Composition
The feeling of homeland is fundamental
in my creativity.
S. Yesenin
The difficult times of the beginning of the 20th century gave Russian (and world) literature a lot of wonderful poets, among whom it was impossible not to notice S. Yesenin. “His poetry is, as it were, scattering the treasures of his soul with both handfuls,” A. Tolstoy said about this poet.
Yesenin's poems captivate with their simplicity and sincerity. Sometimes it seems that there was no barrier between his thoughts, feelings, experiences and the paper. Yesenin simply lived, felt, believed, lost hopes, suffered - and poems appeared.
I meet everything, I accept everything,
Glad and happy to take out my soul.
I came to this earth
To leave her quickly.
The Motherland, its vast expanses with forests, lakes, meadows have always been the main theme in Yesenin’s work, no matter where he was, no matter whose influence he experienced. The image of the Motherland in the poet’s heart was firmly connected with the beauty of Russian nature - lush and lush or completely discreet. Green birch trees, sunrises and sunsets, harsh snowy winters and crumbling bird cherry blossoms - everything resonated in the soul of the impressionable and observant S. Yesenin.
Quietly in the juniper thicket along the cliff.
Autumn - a red mare - scratches her mane.
Above the river bank cover
The blue clang of her horseshoes can be heard.
Considering yourself " the last poet villages,” Yesenin confessed his endless love for Russia in his poems. Like a beloved girl, the poet dressed his country in various clothes: “beloved land”, “My dear Rus'”, “sweet homeland”, “thoughtful and gentle land”, Motherland for Yesenin began in home and poured out from the threshold in all directions, huge, beautiful, eternal.
Goy, Rus', my dear,
Huts - in the robes of the image...
No end in sight -
Only blue sucks his eyes.
Understanding and accepting Rus' with all his soul, in all its wretchedness and wealth, simplicity and unpredictability, S. Yesenin in his poetry was able to surprisingly fully and deeply reflect all those changes in the life of the Motherland that were taking place before his eyes. The poet connected all his hopes and sorrows, joys and grievances with the fate of the country.
I'm wandering through the first snow,
In the heart are lilies of the valley of flaring forces.
Evening star with a blue candle
It shone over my road.
For many, S. Yesenin’s simple and confidential poems are akin to folk poetry. They are remembered by themselves, without any effort, because they are full of bright and unexpected images and are extremely melodic. It is no coincidence that more than a hundred of Yesenin’s poems have become songs that are sung by both young and old. The Motherland gave us an amazing, wonderful, unique, talented poet, and for this he gratefully praised his beloved “country of birch chintz” in his work.
If the holy army shouts:
“Throw away Rus', live in paradise!” -
I will say: “There is no need for heaven,
Give me my homeland."
Composition
Yesenin's poetry is truly unusually figurative. For us: the moon is shining, and its light falls on the roof village hut. For Yesenin: “The month cleans the blue-covered horns in the thatched roof.” What kind of incarnations and reincarnations occur in his poems! The moon turns into a curly lamb, a yellow raven, a bear, a foal, a shepherd's horn, horse face etc.
One of the researchers calculated: “Yesenin gave Russian poetry over fifty unforgettable images of the month-moon, without ever mentioning an epithet.” He called Yesenin’s image a “fairy-tale werewolf.” However, Yesenin’s originality is not simply in the dense metaphorical nature and not even in the unexpectedness of the figurative definitions of thought, especially since many of these extraordinary “images” were actually borrowed or could have been borrowed by the poet from A. Afanasyev’s book “Poetic Views of the Slavs on Nature” or from D. Sadovnikov’s collection “Mysteries of the Russian People.” However, no matter how well we know that the image, for example, of the edge of the moon was not invented by Yesenin, it will still seem to be born before our eyes and, moreover, involuntarily, exactly as the poet said: “And involuntarily the image is torn in the sea of bread from the tongue: the calving palate licks the red heifer.”
Yesenin himself divided his images into three groups and explained this dividing principle as follows (in “The Keys of Mary”):
* introductory, or “likening one object to another.”
* For example, the sun is a wheel, a Taurus, and a squirrel.
Ship, i.e. flowing, unfolded, floating trail. According to Yesenin’s, as always, unusual, extremely individual definition, this is “catching a flow in some object, phenomenon or being, where the splash image floats like a boat on water.”
The third type of image, the most complex and the most, as Yesenin put it, “meaningful” - “angelic,” i.e., “breaking through a window from a given screensaver or ship image.” This point is very important, and in explaining it, Yesenin was especially persistent. And Blok said that the poet should “not stick like a burbot to the reflection of the moon on the ice, otherwise the moon will run away into the sky,” but “splash out to the moon.” The same thought in a letter to R.V. Ivanov-Razumnik: “The word... is not golden, but is pecked from the heart of itself as a chick.”
The compositional structure of the poem depends on what type of image - a splash image or a ship image - is the cornerstone of the poem. If the figurativeness is local, “introductory”, if its length and “grasping power” are only enough for one line or quatrain, then the poem takes the form of stanzas. When an image moves and even unites several poems with its movement, its final “face” (the result of many transformations and transformations) can become indistinct, and a poem, torn out of the cycle, can become too mysterious.
Yesenin wrote in “The Keys of Mary”:
* “In our language there are many words that, like “seven skinny cows devoured seven fat cows, they lock in themselves whole line other words, sometimes expressing a very long and complex definition of thought. For example, the word skill (can) harnesses the mind in itself, and has several more words lowered into the air, expressing their attitude to the concept in the hearth of this word. This is what especially shines in our grammar with verb clauses, to which an entire conjugation rule is devoted, stemming from the concept of “harnessing, that is, putting the harness of the words of some thought on one word, which can serve, just like a horse in harness, a spirit setting off on a journey.” by country of presentation. All of our imagery is built on this same devouring of the fat by skinny words; by combining two opposite phenomena through similarity in movement, it gave birth to a metaphor:
* Moon - hare,
* Stars are hare tracks.”
Yesenin’s method of pictorial consideration, when he speaks not in poetry, but in prose, is so sharply individual that his non-poetic speech may well seem “tongue-tied.” In all likelihood, for this reason, “The Keys of Mary” is not particularly trusted by either readers or researchers. And this prejudice was not born today. Yesenin’s friend, journalist G. Ustinov, recalls that once in the editorial office of the central Pravda there was a meeting between Yesenin and Ustinov, on the one hand, and Peak. Iv. Bukharin, on the other hand, started an argument - they argued about the “Keys of Mary”. Bukharin, laughing like a schoolboy, declared that the author’s brains were “dislocated”: “Your metaphysics is not new, it is a boyish theory, confusion, nonsense. We need to take Marx more seriously.”
V.V. Osinsky, who was present at this incident, reacted more leniently to the great “confused”, agreeing that the awkward and tongue-tied “nonsense”, for all its unscientific nature, is still acceptable as a poetic theory - not for “serious people”, of course, but for poets.
Indeed, scientifically, The Keys of Mary are untenable. However, without feeling that the seemingly confused theory has the same ancestral home as Yesenin’s poetry, without realizing that without this road, those who decide to go on a journey through the country of Yesenin’s ideas will never reach the goal - they will immediately get lost, crossing the border strip. Or maybe they won’t see anything unique in this unique country at all, they won’t see anything except the mignonette and birch trees replicated by fiction writers from poetry! After all, every Yesenin image, any of its figurativeness contains a complex definition of a thought that is far from simple. This is the first thing. Secondly, above each movement of this coherence hovers a whole swarm of details and shades of its ship-like flow lowered into the air...
They make up for the volume: outside the “fat” context, both the word and the image, and the poem as a whole “leans” - it becomes poorer in both meaning and expressiveness... In order, for example, to hear what is said, or rather, unsaid in one of the most Yesenin’s popular poems “I don’t regret, I don’t call, I don’t cry...”, it is necessary to remember that the poet looks at the apple tree, both blooming and fruiting, as if with “double vision”; this is both a real tree, perhaps the same one - “under the birth window”, and an image of the soul:
* Good for autumn freshness
* Shake off the apple-tree soul with the wind...
In these poems written at the beginning of 1919, the poet sees the autumn apple tree not withering, leafless, but crowned with fruits. The hero admires the abundance of the creative gift. The same image is illuminated with a completely different feeling in a poem from 1922:
* I do not regret, do not call, do not cry…
* Everything will pass like smoke from white apple trees.
* Withering gold covered
Here is an essay on the topic “Compositional features of M. Lermontov’s novel “A Hero of Our Time.” Let's remember and name before we start writing the essay compositional features novel "A Hero of Our Time".
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Essay COMPOSITIONAL FEATURES OF THE NOVEL “A HERO OF OUR TIME”.
“Wishes? What benefit is there to wish for in vain and forever?
And the years pass - all the best years.”
M. Yu. Lermontov
“Hero of Our Time” is one of the first attempts to create a psychological realistic novel. The goal, the plan of M.Yu. Lermontov - to show the man of his time, his psychology, as the author himself notes, “ a portrait made up of the vices of our generation, in their full development".
In order to realize his plan, to reveal the character of the hero most fully, objectively, the writer uses the unusual compositional structure novel: the chronological sequence of events is disrupted here. It is not only the composition of the novel that is unusual. This work is a unique genre fusion - a combination of various genres already mastered by Russian prose: travel notes, a secular story, and the confessional diary, beloved by romantics, are used here.
Lermontov's novel is socio-psychological and moral-philosophical. " The main idea of the novel lies in an important modern question O inner man» , writes Belinsky. The author’s desire to achieve maximum objectivity and versatility in the portrayal of the main character forces him to resort to a non-standard narrative structure: the author, as it were, entrusts the story about his hero to either a traveling officer, or Maxim Maksimych, or Pechorin himself.
If we want to restore the chronology of the events described in the novel, then we should start with the incident in Taman, through which the hero’s path to the Caucasus passes. Pechorin will stay in Pyatigorsk and Kislovodsk for about a month (“Princess Mary”), from where he will be exiled to the fortress for a duel with Grushnitsky. Pechorin leaves the fortress for the Cossack village (“Fatalist”). Upon his return to the fortress, the story of Bela’s abduction plays out. Then it happens last meeting reader with Pechorin, no longer a military man, but a secular man, leaving for Persia (“Maksim Maksimych”). And from the preface of the officer-narrator we learn about the death of the hero. These are the events of the life of Grigory Aleksandrovich Pechorin in their chronological sequence. But Lermontov determined the order of the parts following each other outside of chronology real events, because each of the stories played its own special significant role in the system of the entire work.
Reading the story “Maksim Maksimych”, we get acquainted with the portrait of Pechorin, so psychologically subtly and deeply written by an educated and familiar writing work officer-narrator. He notices the whiteness of Pechorin’s skin, and his unlaughing eyes, full of sadness, and his “noble forehead,” and his “thoroughbred” beauty, and Pechorin’s coldness. All this simultaneously attracts and repels the reader. A direct look at the portrait of the hero makes him incomparably closer to the reader than the system of narrators through which we get to know Pechorin in the chapter “Bela”. Maxim Maksimych tells a story to a traveler officer, who leads travel notes, and from them the reader will learn about everything.
Then the author opens to us the confessional pages of Pechorin's Journal. We see the hero again from a new perspective - the way he was alone with himself, the way he could only appear in his diary, but would never open up to people. This is confirmed by the words from the preface to Pechorin’s Journal, from which it is clearly clear that it was not intended for the eyes of others, much less for publication. It was “the consequence of the observation of a mature mind over itself,” and it was written “without a vain desire to excite, participation or surprise.” So Lermontov, using a similar “arrangement” of the chapters of his novel, brings the main character as close as possible to the reader, allowing him to look into the very depths of his inner world.
Carefully turning over the pages of “Taman”, “Princess Mary” and “Fatalist”, we finally comprehend Pechorin’s character in its inevitable duality. And, learning the causes of this “disease,” we delve into the “history of the human soul” and think about the nature of time. The novel ends with “Fatalist”; this story plays the role of an epilogue. And it’s so wonderful that Lermontov structured his novel this way! It ends on an optimistic note. The reader learns about Pechorin's death in the middle of the novel and by the conclusion manages to get rid of the painful feeling of death or the end. This feature in the composition of the novel made it possible for the author to end the work with a “major intonation”: “the novel ends with a perspective into the future - the hero’s emergence from the tragic state of inactive doom. Instead of a funeral march, congratulations are heard on the victory over death.”
While creating the novel “Hero of Our Time,” M. Yu. Lermontov found new artistic media, which literature has never known and which delight us to this day with the combination of a free and broad depiction of faces and characters with the ability to show them objectively, revealing one character through the perception of another.
