Characteristics of the heroes of the poem Gypsies. Aleko - characteristics of the hero (character) (Gypsies Pushkin A.S.)
In the summer of 1821, during his exile in Chisinau, Pushkin traveled for several weeks with a camp of gypsies. Impressed by those days, he began to write a poem "Gypsies", which he completed at the end of 1824 in Mikhailovsky. For the first time, excerpts from the poem were published in the almanac “Polar Star”, then in “Northern Flowers”. Readers were able to read the full text of “Gypsies” only in 1827, when the work was published as a separate edition.
“Gypsies” completes the cycle of Pushkin’s “southern” poems. This is practically the last work of the poet, written in romantic style. It reflected the author’s creative crisis and profound changes in his worldview. The main theme of the poem is the debunking of the romantic hero. But the poet did not find anything to replace the usual ideals, which is why the ending of the work is so gloomy.
Motive flight from civilization to free savages was quite popular at that time. In "Gypsies" Pushkin showed how false and utopian such an idea is. The hero of the poem, Aleko, is an exile persecuted by the law. But the young man not only wants to avoid responsibility for the crime he committed. Aleko became disillusioned with civilization and hated city life. Among the gypsies he seeks freedom and sincerity of feelings.
This plot plot is typical for a romantic work. The author does not say anything about Aleko’s past, about the crime he committed. The reader can only guess about this from individual points. It is clear that Aleko is an educated person, since he is aware of the fate of Ovid. Surely he knows city life well, about which he speaks as follows: “Crowds: mad persecution or brilliant shame”.
Aleko easily accepts the primitive life of the gypsies and quickly fits into their nomadic life. "Tattered Tents", "poor dinner", tattered clothes and the need to walk around villages with a tame bear to earn bread do not frighten him. The love of the beautiful Zemfira and the desired freedom should make Aleko completely happy. But that did not happen.
Owns the hero "secret sadness", the reason for which even Aleko himself does not understand. This is a longing for a familiar life, comfort, communication with educated people. In fact, Aleko never became part of the gypsy freemen, because he did not understand and did not accept the essence of this will - freedom of feelings and actions.
The heroines of the poem, Zemfira and Mariula, have no moral obligations to men and children. They blindly follow their desires, obey their passions. Pushkin deliberately created the image of Zemfira's mother, who left her daughter for a new love. In a civilized society, this act would cause universal condemnation, but Zemfira does not condemn her mother. She does the same.
Gypsies do not consider betrayal a sin, because no one can hold back love. For an old man, his daughter’s action is common. But for Aleko, this is an attack on his rights, which cannot go unpunished. The murder of Zemfira and her lover clearly shows that in his soul the hero of the poem never became a gypsy. "I'm not like that", admits Aleko.
The old man calls the young man a proud man, angry and brave as opposed to peaceful and "timid soul" fellow tribesmen. He clearly defines the reason for Aleko’s action - selfishness. “You only want freedom for yourself”, Zemfira’s father accuses the killer. Considering himself free, Aleko does not want to see others free.
For the first time, Pushkin depicted the expulsion of a romantic hero not only from a civilized society, but also from the world of freedom. Aleko commits a crime not against prejudices and traditions, but against universal human values. His jealousy and cruelty do not evoke the sympathy of readers. The hero turns out to be an egoist and a murderer.
At the same time, the poet destroys the romantic aura of gypsy will. The colorfully described details of everyday life show the poverty and ignorance of the wild people, and freedom of love and action does not bring them happiness. This plot twist and assessment of the characters’ actions allowed critics to call the poem “atypical.”
Compositionally the work is built around the gypsy song of Zemfira, which, not by chance, occupies a central place, since it is culmination conflict. The poem consists of eleven parts. Nine of them are written in iambic tetrameter, and Zemfira’s song is written in two-foot anapest. Another song, “The Bird of God Doesn’t Know...” is written in trochee tetrameter.
In addition to the two songs, the poem contains two more stories by the old gypsy: about the exiled poet and about his unfaithful wife Mariula. They serve to develop the plot and reveal the characters' characters well. The parts of the work have completely different forms. There is a narration on behalf of the author, descriptions of the nature and life of the gypsies, and dialogues. All parts are masterfully combined into one whole and consistently realize the poet’s intentions.
“Gypsies” did not have much success in Russia, although some phrases of the poem became catchphrases. The work was enthusiastically received by the European public. It was “Gypsies” that inspired Merimee to write “Carmen”, and Rachmaninov - his first opera “Aleko”. The song “The Bird of God Doesn’t Know...” was set to music by 32 composers. She was included in many children's books and anthologies.
- “Gypsies”, a summary of the chapters of Pushkin’s poem
GYPSIES
(Poem, 1824)
Aleko- a fugitive from civilization with its “unfreedom”, persecuted by the “law”, the hero of the last of the cycle of “Byronic” poems by Pushkin, in which all the (already obviously insoluble) problems posed by this genre are condensed to the limit.
A. wants to become part of the “wild”, natural world. When the gypsy Zemfira finds him in the desert steppe, he follows her to the camp to become a gypsy. The gypsies do not mind - their will knows no prohibition (here the chains are intended exclusively for the bear), just as it does not know constancy. The Wise Old Man, Zemfira’s father, explains this to the newcomer - once, twice (“...freedom is not always sweet / To those who are accustomed to bliss”). He agrees in advance - because he loves Zemfira, wants to always be with her - and become a “free inhabitant of the world”, like a “bird of God” without knowing care and labor. Alas, he does not realize that the gypsies are free to the end; that for all their passion they do not know long-lasting, hot passion, and therefore they do not know fidelity; that he needs freedom from someone else's dictate, but he never recognizes someone else's freedom from himself. First of all, Zemfira’s freedom to love whoever she wants.
Thus, the Byronically fragmentary plot, breaking up into short dramatic passages, approaches the inevitable climax of the love (and semantic) conflict. Having spent two years with his beloved Zemfira, A. suddenly hears her allusive song: “Old husband, formidable husband /<...>I love someone else...” This is self-exposure, contrastingly shaded by Zemfira’s answer, consistently free: “you are free to be angry.”
The end is near; Nothing can stop her - not even the third (according to literary and folklore account, necessarily the last) warning from the Old Man. Having learned from Zemfira that the Russian moans and sobs terribly in his sleep, he calls A. for a conversation: he again reminds that “people here are free,” tells an instructive story about his Love for Zemfira’s mother, Mariu-la, who left with a gypsy from another camp ; All in vain. Finding Zemfira with someone else, A. kills both. That is, he administers court, which is possible only where there is law. Having described a full circle, the action returns to the starting point - the European, who fled from the law into freedom, himself judges the will according to the law established by him. What is the value of freedom that does not promise happiness? What is the value of a civilization from which one cannot hide, because it nests in man himself? A. does not find an answer - he remains completely alone, rejected (but not condemned!) by the camp. Unlike the Caucasian captive from Pushkin’s poem of the same name, he cannot return to the “Russian”, European space, where “Our double-headed eagle / Still roars with its momentary glory.”
According to the law of the genre, the circumstances of the hero’s life are correlated with the circumstances of the life of the author (who himself is “...dear Mariula<...>repeated the tender name"). The connecting link between them is not only the autobiographical epilogue, not only the name A., through which the name of Pushkin himself, Alexander, shines through. The legend about Ovid, which - again for educational purposes - is told by the Old Man, is very important. It is with Ovid, whom Rome expelled from the center of the empire to the northern outskirts, in the Danube regions, that Pushkin compares himself in poems from the period of southern exile. It is with Ovid, who among the free people yearned for the empire, that A. Starik compares. And yet the line separating the author’s inner world from the hero’s inner world is clearly drawn. The author has already realized that “fatal passions are everywhere / And there is no protection from fate”; he is more experienced and wiser than A.; he does not so much rhyme his experiences with the feelings of the hero as coldly and harshly analyze his spiritual world.
The Old Man’s phrase addressed to A. - “Humble yourself, proud man” - served as the starting point for the historiosophical constructions of F. M. Dostoevsky’s “Pushkin Speech” (1880); the image of A. became for Dostoevsky the personification of the individualistic, godless principle of Western European culture; he is opposed by Tatyana Larina, personifying the humble beginning of Russian conciliarism.
Aleko is the hero of A.S. Pushkin’s poem “The Gypsies” (1824). A. is, first of all, a generalized image of the young, European-educated generation of the 19th century, to which Pushkin counted himself. This is a hero of the Byronic type, endowed with such a keen sense of dignity that he perceives all the laws of the civilized world as violence against man. The conflict with society, with which A. is connected by birth and upbringing, is the starting point of the hero’s biography. However, A.'s past is not revealed in the story. The hero is characterized in the most general sense as a “fugitive”, forcibly expelled or voluntarily leaving his familiar environment. Above all, he values freedom and hopes to find it in the natural free life of a gypsy camp.
The story “Gypsies” is based on the contrast between two social structures, characteristic of romanticism: civilization and wild will. Criticism of the contradictions of civilization occupies an important place in the work. A. denounces the “captivity of stuffy cities”, in which people “trade according to their will”, “they bow their heads before idols and ask for money and chains.”
The image of "chains" was traditionally used by the Romantics to characterize feudal despotism and political reaction. In "Gypsies" he is relegated to modern times. A.'s break with civilization goes beyond narrow personal problems and receives a deep ideological justification. Thus, the motive of exile in the hero’s fate is initially perceived as a sign of his high capabilities, his moral advantages over a flawed civilization.
Subsequently, the exile A. appears among the primitive people, whose life Pushkin characterizes with the metaphors “will”, “bliss”, “laziness”, “silence”. This is a kind of paradise, where evil has not yet penetrated and where, it seems, A. can rest his soul and find his happiness. But it is precisely such an environment, fundamentally alien to activity, that in contrast reveals the oddities of A.’s personality and character. The life practice of a romantic hero is traditionally carried out in passions. Such a hero manifests himself in stormy experiences, in the exclusivity of desires and actions, especially in the sphere of love relationships. In the previous world, A.’s life was not successful; Finding himself in a gypsy camp, he pins his hope for another, new life on Zemfira. She is “more precious to him than the world.” As long as Zemfira loves him, life for A. is full of harmony. But with Zemfira’s betrayal, the newfound balance collapses. A.'s pride is offended, his heart is tormented by jealousy and the need for revenge. Blinded by an explosion of indomitable desires, in an effort to restore the trampled, as it seems to him, justice, A. inevitably goes to crime - the murder of Zemfira. In A.’s love, possessive, egoistic instincts are manifested, i.e. those moral qualities that characterize him as the bearer of the spirit of the civilization he despises. The paradox of A.’s fate is that it is he, the champion of freedom and justice, who brings blood and violence into the innocent simple life of the gypsies - that is, morally corrupts it. This plot twist reveals the hero's failure. It turns out that the “son of civilization” (as A. Belinsky called it) is incompatible with the communal gypsy life, just as he is incompatible with the world of enlightenment. A second expulsion - this time from a gypsy camp - and punishment by loneliness complete the hero’s storyline.
A.’s life credo is clarified in the story by Zemfira’s old father. If A. defends the rights of an individual, then the old gypsy, obediently accepting the natural order of being, speaks on behalf of tribal life. In the unpredictable behavior of a gypsy woman, in the spontaneity of her love, he sees only a surge of natural forces that are not subject to human judgment. The old man, who once in his youth also experienced the pangs of love, now wants to warn A., to convey his experience to him. But “angry and strong” A. does not hear the old man and does not accept his advice. “No, without arguing, // I will not renounce my rights, // Or at least I will enjoy vengeance,” he declares.
Confronting two life philosophies, Pushkin does not give preference to one or the other. The most important technique of contrast in romantic thinking is necessary for particularly vivid illumination of the conflict under consideration. In essence, A. symbolizes in this conflict the extremes of development of a modern individualistic society, the enormously expanded principle of personality. This perhaps explains the maximum generalization of the characterization of the hero, who is deprived of a real biography and nationality, and is excluded from a specific historical and everyday environment. In literary criticism, there has been a long tradition of accusing A. of insolvency (Belinsky saw him as an egoist, Dostoevsky - an eternal outcast). But Pushkin’s position is much more complex than exposing the hero. Although in “Gypsies” the hero is objectified, the presence of autobiographical features in him (A. is the gypsy form of the name Alexander) indicates a lyrical interpretation of not only some of the hero’s views (criticism of modernity, for example), but also the general tone of the author’s compassion for his fate. A. tragic. In an expressive portrait of the hero of the time, doomed to follow the paths of evil and paying with his life for his errors, Pushkin showed the imperfection of human nature itself, the objective tragedy of the ways of development of human culture.
Stories of love and freedom are an eternal and bottomless theme for many novels and poems. Who has not loved or suffered, who has not sought sweet captivity or freedom from social shackles? From the poem that Pushkin wrote, “Gypsies,” you can learn everything about these stormy feelings and emotions.
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History of creation
The history of the creation of the poem “Gypsies” by Pushkin begins with exile near Chisinau, where for the first time he got to know the life of the gypsies so closely, and reflected it in his poems. He was surprised by the freedom in relations between men and women and the gypsies' philosophical concept of freedom, because a civilized person puts so many restrictions and requirements into the concept of love. In the poem “Gypsies” by Pushkin, the year of writing coincides with the time of exile - 1823-1824.
For that time plot "Gypsies" Pushkin is not entirely traditional. At first everything is normal - a young man comes to the nomadic camp of gypsies, he resembles Pechorin or, sated with the world and its tricks, looking for freedom and relaxation, pure love and real people.
Zemfira, the daughter of an old gypsy, falls in love with Aleko and becomes his wife. The father does not interfere with lovers, does not teach or forbid.
Several happy years pass in love, travel, caring for bread. But it is precisely at this moment that the usual line of romantic poems changes.
Real life bursts into the poetry of nomadic life and tests the hero’s strength. The genius of Pushkin is that he heroes Aleko and Zemfira did not remain cardboard images of romantics, but turned into living and tragic characters.
After the young wife admits first in song and then openly that she has fallen in love with another, the hero from Manfred turns into Othello with the gypsy Zemfir e. He forgets that he himself proclaimed freedom and honesty, does not hear the sad love story of his wife’s father about how he was left with a little daughter abandoned by his flighty mother, but kept love in his heart.
In the final Aleko lies in wait for lovers and kills first the man, then the unfaithful wife. The gypsies, represented by Zemfira's father, accuse him of pride and selfishness, as well as the desire for freedom only for himself. They leave him with the cart and go their own way. But Aleko also disappears.
Brief and succinct description of Aleko
Pushkin wanted to place the hero, who had already become popular thanks to Byron and other romantics, and who was tired of his restrictions in a pure environment. Aleko, Zemfira's future husband, having reached the children of the steppes, proclaims that ties with the past and the world of cities are severed. He does not want to lie to himself and others, he seeks simplicity of feelings and freedom from the bustle of science and the crowd. Gypsies are what attracts him inner freedom and childish sincerity. The hero wants to love openly and live without conventions.
Attention! But as soon as dreams collide with real manifestations of this moral freedom and calls for sensual impulses, the hero remembers all the ideals that bored him
Zemfira
The young beauty Zemfira is a true child of love and nature. She is direct in her affections. As soon as she sees Aleko, the gypsy brings him to her family and her home, and then generally gives him her heart.
If sometimes she is worried about the fear that her lover will leave her for a past life, she immediately shares her experiences. Aleko's angry sermons about the baseness and dirt of cities calm her down.
And as soon as the girl felt another love in her heart, she could not remain silent about this either - first she sings about her new feelings, then she admits her desire to leave for someone else, and goes on a date without hiding. From not understanding how it could be otherwise, girl behaves like a mother, who left her for new love. Zemfira sees that her father has recognized his beloved’s right to leave if everything has passed, and she leaves just as easily.
Analysis of the work
So, the jealous man from the poem “Gypsies”, who destroys two young lives at once, does this only because of a feeling of wounded pride, because they dared to abandon him. It was written as if in defiance of all romantic heroes, and in particular Byron. These characters burned with hatred and contempt for society and its deceptive ideals. They fled to the mountains and fields, sending curses to the heavens with calls to pour out their rage on these refuges of vice.
Romantic heroes sought truth and naturalness from nature; it reconciled them with the world and gave them an ideal. Aleko is also bored and sad because he has known and experienced everything. He suffered a lot and now wants peace. But when a man finds himself in the world that he considered ideal, his true face is revealed.
The author's genius is above romantic conventions, one-sided characterizations and deceptions. He paints a situation showing that a person who does not know how to build relationships in his circle, who has not found friends and love in his own world, is not able to do this in a new one.
Everything that is demonic, inert and base, of which Aleko accuses the surrounding society, is in himself and appears at the first difficulties. As soon as his beloved wants to leave, he immediately remembers the man’s right of ownership to the woman who gave herself to him, about the pride of a man, desecrated.
Attention! It is pride , It is not unhappy love that leads to tragedy, and the gypsies who have retained their childish character traits see the true reason and do not resign themselves to it.
Features of the gypsy soul
In general, Pushkin's gypsies are the main characters strong, free, generous and trusting, like children. And at the same time, people are filled to the brim with wisdom, collecting it bit by bit from everyone they meet along the way, and processing it to suit their ideals.
Indicative is the story of the old man about Ovid, who in these parts, caressed by love and care, suffered bitterly in longing for. The wise gypsy sees right through Aleko and says that it is impossible to escape from oneself - a person brings his inner world with its nightmares and problems everywhere.
In contrast to Aleko, Zemfira and her father do not see evil in others and do not run away from the world. They react quickly to people, joyfully seek meetings and are trusting listen to other people's stories. The laws of society, private property, and marriage do not interest them and are not clear to them. The gypsies accept the newcomer as a relative and equal; his tossing does not affect the heroes. Only Zemfira is surprised and enchanted, but she soon fell out of love and exchanged Aleko for her own.
Tragic characters according to Pushkin
It’s a terrible act when a loving person only wants revenge on his loved one, and not happiness, even if it is far from him. These emotions are attributed by Pushkin to the majority of the so-called tragic characters, who became popular during the years of general spleen and melancholy, and conquered high society.
These young people wore tragic masks, sighed languidly and scolded their contemporary society with its wrong and low foundations and rules. They sought to return to the “golden age” where life was bold and daring, feelings were real, and people were sincere. Pushkin, using the example of his hero, shows what they can bring to this golden world - grief and death.
Poem "Gypsies", brief analysis
Pushkin, poem “Gypsies”, summary
Conclusion
All these motives and moods allow us to say that the Gypsies are genre of romantic poems, because it has everything you need. Tragic and bright heroes, an unhappy love story, death, conflict between society and the hero, love and infidelity, mental tossing and an emotional ending.
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The idea of Pushkin's poem "Gypsies"
The poem "The Gypsies" is a reflection of both Pushkin's personal life in southern exile and his literary influences. Observations of the life of semi-eastern Chisinau, acquaintance with the life of the Bessarabian gypsies forced Pushkin to peer into the peculiar local understanding of “love”, which was completely alien to a cultured person. This interest of Pushkin was also expressed in the poems “Black Shawl”, “Cut me, burn me”.
It turned out that among the gypsies there was still preserved that freedom of love relationships that bears the features of a primitive society and in the cultural environment has long been replaced by a chain of dependencies - from written laws to the conditions of secular “decency”. Of all human feelings, love between a man and a woman is the most selfish feeling. Pushkin chose a difficult love question to analyze the type of hero that was characteristic of his work during the period of southern exile - a person infected with the poison of “world melancholy”, an enemy of cultural life with its lies. The heroes of the writers who then influenced Pushkin (Rene Chateaubriand, Byron's characters) curse cultural life, glorify the life of savages... But will such a hero survive primitive life, with all the simplicity of its life, the purity and freedom of purely plant and animal existence? The hero of Pushkin's poem "Gypsies" did not pass the test. Hatred of culture alone was not enough to become a savage. Growing up in an atmosphere of selfishness and violence, a cultured person carries selfishness and violence everywhere, along with beautiful words and dreams.
Pushkin. Gypsies. Audiobook
The story and image of Aleko in “Gypsies”
Like Rene Chateaubriand, like some of Byron’s heroes, like the hero of “The Prisoner of the Caucasus,” the hero of “Gypsy” Aleko abandons the city and civilized people out of disappointment with their lives. He abandoned their conventional existence - and does not regret it. He says to the young gypsy Zemfira:
What to regret? If only you knew
When would you imagine
The captivity of stuffy cities!
There are people in heaps behind the fence
They don’t breathe the morning cool,
Not the spring smell of meadows;
They are ashamed of love, thoughts are driven away,
They trade according to their will,
The head is bowed before idols
And they ask for money and chains.
He hates everything about the life he has abandoned. The fate of the gypsies captivates him, and Aleko dreams that his son, having grown up as a savage, will never know:
Negence and satiety
And the magnificent bustle of science...
but he will:
...carefree, healthy and free,
He will not know false needs;
He will be pleased with the lot,
Vain remorse is alien.
Aleko “said goodbye”, became a real gypsy, drives a tame bear and earns his living from this. But he did not merge with this primitive life: like Rene, he sometimes yearns:
The young man looked sadly
To the desolate plain
And sadness for a secret reason
I didn’t dare interpret it for myself.
Black-eyed Zemfira is with him,
Now he is a free inhabitant of the world,
And the sun is cheerfully above him
Shines with midday beauty.
Why is the young man’s heart trembling?
What worries does he have?
But as soon as Aleko was convinced that his girlfriend Zemfira had cheated on him, the former egoist awakened in him, having grown up in conditions of a cultural “unfree” life. He kills his cheating wife and her lover. The gypsy camp abandons him, and, in parting, the old gypsy, the father of the murdered Zemfira, says significant words to him:
Leave us, proud man,
You were not born for wild will,
You only want freedom for yourself.
Your voice will be terrible for us:
We are timid and kind at heart,
You are angry and brave - leave us.
Goodbye! may peace be with you!
In these words, Pushkin pointed out the complete failure of the “Byronic heroes” of “egoists” who live too much by themselves and for themselves. Pushkin now debunks these heroes in his characterization of Byron’s poems: “The Giaour” and “Don Juan.” In them, in his words:
The century was reflected.
And modern man
Depicted quite accurately
With his immoral soul,
Selfish and dry,
Immensely devoted to a dream,
With his embittered mind
Seething in empty action.
In these words, the entire characterization of Aleko and a clear disclosure of the poet’s new relationship to Byronism. In Byron's poetry, Pushkin now saw only “hopeless egoism.”
Aleko is debunked by Pushkin: his mask is boldly torn off, and he stands before us without any embellishment, punished and humiliated. Byron never debunked his heroes, since they are his beloved creatures, borne in his heart, nourished by his blood, inspired by his spirit. If he had written the poem “The Gypsies,” then, of course, it would have had a different ending... It is a pity that in his most typical poems he never subjected his heroes to the same test that Pushkin risked subjecting his Aleko.
In Byron, the hero, cursing people, with their vanity, with their civilization, rushes into the bosom of nature, and if his spirit does not completely merge with the life of nature, since it is not pacified anywhere, then this nature never gets in his way in the sight of that inexorable, harsh force that broke Aleko.
So, Aleko is an image that, upon detailed analysis, can be compared with Byron’s heroes, since in him one can feel both the energy and gloom of a spirit offended in the fight against people. He also has delusions of grandeur, inherent in the true creatures of Byron's fantasy. But Aleko is condemned by Pushkin, he is not even surrounded by that pale halo of martyrdom that flickers faintly around the brow of the “Caucasian Prisoner”. Aleko is no longer Pushkin, and the Byronic motifs heard in the speeches of the hero of “Gypsies” did not pass through Pushkin’s heart. He simply took a curious character, transferred him to a peculiar setting and confronted him with a new intrigue. Here there was purely objective creativity, which characterizes the transition to the period of epic creativity in Pushkin’s literary life.
The literary influence of Byron and Chateaubriand on Pushkin's "Gypsies"
Literary influences on Pushkin’s “Gypsies” came from Byron and Chateaubriand: the former helped the poet draw a “type,” helped depict “local color,” and gave the very form of the poem, interspersed with dialogues. The second gave some details in depicting the images of the heroes, and, perhaps, helped to understand the soul of the hero.
Pushkin's Aleko, like Rene Chateaubriand, is followed by melancholy. This is their characteristic feature. In Chateaubriand's novel we meet a curious image of the patriarch of the Indian tribe Chaktas. He knows life, with its troubles and sorrows, he has seen a lot throughout his life, he acts as a judge of the selfishness and heartfelt emptiness of the young man Rene. Chaktas does not utter such energetic reproaches as Aleko heard from the old gypsy, but, nevertheless, the dependence of Pushkin’s hero on Chateaubriand’s is quite possible. The similarity between the works of Pushkin and Chateaubriand extends to the identity of the concept: both writers deliberately debunk their heroes, punishing them for the emptiness of their souls.
Russian criticism about Pushkin’s “Gypsies”
Russian criticism and the public enthusiastically accepted Pushkin's new work. Everyone was captivated by the descriptions of gypsy life and interested in the drama of the poem. In their analysis, criticism noted Pushkin’s originality in relation to the hero; noted that the Russian poet depends on Byron only in the “manner of writing.” A critic of the Moskovsky Vestnik pointed out that with “Gypsies” a new, third period of Pushkin’s work begins, “Russian-Pushkin” (he called the first period “Italian-French”, the second “Byronic”). The critic quite rightly noted: 1) Pushkin’s inclination towards dramatic creativity, 2) “correspondence with his time,” i.e., the ability to depict “typical features of modernity,” and 3) the desire for “nationality,” “nationality.”
