Plan
Ways of developing poetry for children in the second half of the 19th century
Lecture number 7
1. Ways of development of poetry for children: poetry of "pure art" (A. Fet, A. Maikov, F. Tyutchev, AK Tolstoy) and "Nekrasov school" (A. Pleshcheev, I. Nikitin, I. Surikov) ...
2. Characteristics of children's lyrics by representatives of "pure art".
3. Creativity of poets of the Nekrasov school in children's reading.
4. N.A. Nekrasov in children's reading. Works written especially for children and included in the circle of children's reading. Social motives in the poems "Crying Children", "Nightingales", "Uncle Jacob". Education problems in the poems "Railroad", "Grandfather". Poetic image of a child from the people ("Peasant Children"). Nationality, national character of poetry.
Literature
Begak B. Classics in the land of childhood. - M .: Det. lit., 1983.
Zuev N. "Peasant children" by Nekrasov // "Life and poetry are one": Essays on Russian poets of the XIX-XX centuries. - M .: Contemporary, 1990.
Russian poetry for children / Vstup. article, compilation, preparation of the text, biographical information and notes. E.O. Putilova. - L .: Sov. writer, 1989. (B-ka poet. Great ser.).
Lyrics of the second half of the 19th century - a remarkable period in the history of our national poetry. During these years, a large constellation of poets who made a richest contribution to the Russian classics declared themselves. This is the period when Russian poets drew attention to the world of childhood with its special ethics and aesthetics. The names of A. Fet, A. Maikov, I. Nikitin, later A. Plescheev, I. Surikov, poems by F. Tyutchev, A. Tolstoy, Y. Polonsky appear in children's magazines, almanacs. The poems of outstanding Russian lyricists reveal to young readers the diverse and unique world of nature, the beauty of their native land. Each author brings his own colors, his own strokes into a huge portrait of native nature, "revealed in the word." In general, poetry for children has become more democratic in form and content, complex philosophical, social, psychological, and aesthetic ideas that are accessible to the child's mind and feelings began to enter into it.
In the second half of the 19th century, two poetry schools coexisted and constantly opposed each other: the “non-racial” school (I. Nikitin, Drozhzhin, Pleshcheev, Surikov, etc.) and the “pure poetry” school (Fet, Maikov, A. Tolstoy, Ya. Polonsky, to some extent F. Tyutchev Both of them created a whole poetic world for children.
"Nekrasovskaya" school: democracy of ideas, citizenship, social issues, the use of colloquial, vernacular vocabulary. The theme of the village, peasant life. They formed an active life position. Direct address to the reader. Poetry of civic thought.
School of "pure poetry": Developed the romantic tradition of Russian poetry, the cult of beauty, close to the ancient, contemplative attitude to the world. An emphasized rejection of the image of the "dirt" and spite of the day. Book, elevated vocabulary, complex syntactic figures, sophisticated imagery. Poetry of the heart, feelings.
Whisper, timid breath,
Nightingale trills,
Silver and wobble
Sleepy brook.
Night light, night shadows
Shadows without end
A series of magical changes
Sweet face
In the smoky clouds, purple roses,
Reflection of amber,
And kissing and tears
And dawn, dawn!
I. Nikitin
Stuffy air, splinter smoke,
Rubbish underfoot,
Litter on the benches, cobwebs
There is a pattern in the corners.
Smoky floors,
Stale bread, water,
Spinning cough, baby crying
O need, need!
To mourn grief, to work a century,
Beggars die.
This is where to learn
Believe and endure.
2. Characteristics of children's lyrics by representatives of "pure poetry"
Fedor Ivanovich Tyutchev(1803-1873) - a contemporary of Pushkin, a romantic poet. Romantic, mysterious nature in his poems, complex and dramatically connected with the world of man.
A characteristic feature of Tyutchev's lyrics are landscapes, bright, expressive. Pictures of changeable, transitional states of nature are especially attractive.
I love the storm in early May,
When the spring, the first thunder,
As if frolicking and playing,
Thunders in the blue sky ...
(Spring Thunderstorm)
As if specially created for children a poem "Winter is not for nothing is angry", depicting the change of seasons as a confrontation between the young Spring and the outgoing Winter - "evil witch":
Winter is still busy
And grumbles in the spring
She laughs in her eyes
And it only makes more noise ...
Tyutchev's image of nature is romantic, visible, animated. The poet shows nature in motion, in the change of phenomena, in the struggle of the opposite forces of light and darkness. Often shows violent manifestations of the elements ("fateful minutes"). The poet often uses the principle of parallelism to depict the complex world of human feelings by juxtaposing with nature.
A.K. Tolstoy (1817-1875), A.A. Fet (1820-1892), A.N. Maikov (1821-1897) are called the singers of nature. In landscape poetry, they have achieved the highest skill. Maikov wrote: “The feeling of nature, excited in us by its contemplation, is everywhere the same ... In our Russian nature, this feeling is livelier and more direct because there is a forest, meadows and fields around there, and all this buzzes, makes noise, rustles, is interesting with you". This statement by Maikov is a kind of epigraph to his poems and the poems of his contemporaries.
The anthology, collections of poems for children of primary school age included poems by Alexei Konstantinovich Tolstoy "This is the last snow melting in the field", "Autumn. All our poor garden is sprinkled ”,“ My bells, steppe flowers ”,“ Where the vines bend over the whirlpool ”,“ You are my land, my dear land ”,“ Louder than a lark pee ”. A.K. Tolstoy is a romantic poet, partly a mystic. He is distinguished by the spontaneity of feelings, major intonations are combined with elegiac, soulful ones. Accuracy and clarity of details, the ability to highlight the most striking feature of what is described, the consonance of pictures of nature with human mood. The naivety of children's perception is combined with a deep wisdom of generalization. The poetics of A. Tolstoy is characterized by song imagery, free use of colloquial words, generally accepted epithets. The poet has mystical motives, he is characterized by a love of space, freedom.
Afanasy Afanasevich Fet is represented by verses unsurpassed in purity and transparency of the syllable "The swallows are gone ...", "Wonderful picture ...", "I came to you with greetings ...", "I know that you, baby ...". A child hero appears in Fet's work ("Mom! Look out of the window ..."), scenes of home life appear:
The cat sings, squinting eyes, A storm is playing in the yard,
The boy is napping on the carpet. The wind whistles in the yard ...
These poetic miniatures are distinguished by a particularly warm, soft intonation and, first of all, attract young readers.
His poems are imbued with the cult of the elusive, unsaid. I admired a moment, a fleeting impression, beautiful and disappearing. Most of all he is interested in his own feelings, moods, sensations. In nature, he is attracted by "quiet phenomena", unclear states (transition from winter to spring, from summer to autumn), half-tones, shades, elusive combinations. Often he does not show the landscape itself, but its reflection in the water or the sky. Descriptions of nature are detailed, specific. Every bird, every insect, every tree is shown in its uniqueness. His poetry is musical and melodious.
Sounded over the clear river,
Ranged in the faded meadow,
It rolled over the mute grove,
It lit up on the other side ("Evening").
The lyrical hero, as a rule, is "behind the scenes", he is a contemplator, telling about what he saw.
Nature is an idle contemplator,
I love, having forgotten everything around,
Watch out for the lancet swallow
Over the evening pond.
Here it rushed and blacked out -
And scary to smooth glass
I didn’t grab it by an alien element
Lightning wing.
And again the same daring
And the same dark stream, -
Isn't that the inspiration
And the human self?
The poems "Haymaking", "Autumn" ("The golden leaf in the forest in the forest ..."), "Spring" ("Go away, Gray winter"), "Summer rain" ("Gold , gold falls from the sky ... ") His" Lullaby ", in which the fabulously powerful forces of nature, protect the baby's peace:
Sleep, my child, sleep! I took you as a nanny
Sweet dream to yourself mani: Wind, sun and eagle.
Creativity has a unique originality Ivan Savvich Nikitin(1824-1861), a native of the bourgeois environment (born and lived in Voronezh), a poet of the Nekrasov school. The poet's closeness to folk life, to Russian nature was reflected in his poetry. In Nikitin's poems, there is an open feeling of ardent love for his native land, admiration for the strength and resilience of the national character. The following poems by Nikitin became the property of children's literature: "Morning" ("The stars fade and go out. Clouds in the fire ..."), "Grandfather" ("Bald, with a white beard, grandfather sits ..."), "Morning on the shore lakes "," The driver's wife "," I remember: it used to be a nanny ... ". The poet's works organically include motives and images of folk lyric songs. It is no coincidence that more than 60 songs and romances have been created based on Nikitin's poems. Among them are "Rus", "On an old burial mound, in a wide steppe ...". The children's song "Meeting Winter" ("Hello, Winter Guest!") Has become especially widely known.
Poetry for children of A.N. Pleshcheev (1825-1893) and I.Z. Surikov (1841-1880) developed in the mainstream of Nekrasov's traditions. In their work, the motives of Russian nature and peasant labor were combined, the theme of village childhood sounded. Both poets showed interest in contemporary children's literature, actively participated in the work of the magazines "Children's reading", "Family and school", "Kindergarten", "Toy".
Alexey Nikolaevich Pleshcheev, the famous poet, translator, prose writer, literary and theater critic, turned to children's literature in the 70s. He compiled and published several collections of his works for children, among them "Snowdrop" (1878) and "Grandfather's Songs" (1891). His poems are full of love for children and cannot but evoke a reciprocal feeling. Here is a little beggar who was pitied and fed by his fellow in misfortune ("The Beggars"), a sick boy who dreamed of spring, about warmth, about his mother ("Expectations"). Children, different, meek and lively, noisy, inquisitive, are the main characters of Pleshcheev's poetic works. Little heroes are surrounded, as a rule, by people who love them - dads, mothers, grandfathers and grandmothers, nannies. The poet draws memorable pictures of family life: the return of children from school, a meeting with a barboska at the porch, inquiries from relatives ("From Life"), the curly-haired Vanya's enthusiastic story about school ("Grandmother and Granddaughters"), grandfather's conversations with little grandchildren, fairy tales "about a fox, about a bun, and about a frog-frog, and about a little mouse house "(" Bad weather ").
Through the eyes of a child, Pleshcheev sees nature. Everything in his poems is mobile, changeable: "The grass turns green, / The sun shines, / A swallow with spring / In the canopy flies to us", nightingales and larks are singing, streams are running, raindrops are talking. “The colors of the Plescheev landscape are modest and moderate, they attract with their naturalness. His landscape is simple and transparent, highly emotional and often contrasted, juxtaposing storm and silence, calm and anxiety. " Pleshcheev's poems are musical and, just like Nikitin's, many of them have become popular songs and romances.
Influenced by Pleshcheev, he turned to poetry for children Ivan Zakharovich Surikov, a talented self-taught poet who was born into a peasant family in the Yaroslavl region. The first happy 8 years of his life passed in the village, on the whole severe and joyless (he died at 39 from consumption). The impressions of the village childhood, the bright memories of the warmth of the parental home, of the happy days spent in the field, at night, fishing, fed the poet's creativity. This is the main theme of his pure and ingenuous poems: "Childhood", "At night", "On the river", "In winter". The poem "Childhood", perhaps the most famous by Surikov, became the main feature of his poetry.
This is my village; Here I am rolling in a sled
Here is my home; Along the steep mountain ...
The poem, despite its seeming simplicity, was written by the hand of a master. The poet draws only two pictures: funny fun with boy friends and an evening at home:
In the corner, bending over
Grandfather weaves bast shoes;
Mother at the spinning wheel
Silently, flax spins.
And the "gray-haired grandmother" tells her grandson a fairy tale:
Like Ivan Tsarevich
I caught the bird-heat,
How is his bride
The gray wolf got it ...
There are few external events, but they are so emotionally filled that the day, as it happens only in childhood, seems limitless:
The winter evening lasts
Lasts endlessly ...
Memories of one day grow into a generalized image of childhood.
You flowed merrily,
Children's years!
You were not overshadowed
Grief and misfortune.
The poems of the poets of the 60-70s of the last century, with all the variety of motives, intonations, are surprisingly kind and humane. They recreate the harmonious world of unity between man and nature, the warmth of family relations, convey faith in a good beginning, the desire for knowledge, for a happy life.
The best poems of the poets of this time are well known and loved by many generations of Russians, they were carefully passed on from the elders to the younger, without exaggeration it can be argued that they entered the genetic memory of the people, became an invaluable national cultural wealth.
Taken as a whole, the poetry of the beginning of the century presented a dynamic picture, contradictory in its aspirations. The inertia of the established poetic forms continued to operate in it, the elements of the former artistic system that had not yet exhausted themselves to the end showed their viability, intermediate phenomena arose, combining old aesthetic principles with the search for new creative possibilities, and, finally, innovative aspirations, which at the end ends led to the emergence of a new poetic system.
The general trend in the development of Russian poetry of this time could be defined as a movement from classicism and sentimentalism to romanticism (with the development of which the emergence of this system is connected), but the real picture was undoubtedly more complex and multifaceted. It is not easy to introduce into certain strict boundaries the poetic groupings and associations of poets operating at that time.
Russian poetry in these years is distinguished by an extraordinary diversity of genres and stylistic tendencies, an orientation towards a variety of "samples", a very different interpretation of the goals and objectives of poetic creativity. And nevertheless, the poetic movement gravitates towards several centers, is grouped around a number of names that act as a kind of banner for such groups and schools.
Without pretending to give any complete characterization of them, we will mainly touch upon those of them that were the spokesmen for aspirations typical of the era and, therefore, determined the qualitative originality of poetry in the first two decades of the 19th century.
Within the limits of the poetic system of classicism, the creative activity of poets, united by belonging to the "Free Society of Lovers of Literature, Sciences and Arts" (1801-1807), proceeded mainly.
But already Derzhavin's example shows how, under the influence of general processes and changes experienced by Russian literature of the late 18th - early 19th centuries, the system of classicism begins to collapse from the inside, reveals points of contact with phenomena of a different aesthetic series.
Having appeared as younger contemporaries of Derzhavin, whom Pushkin called the “father” of Russian poets, the poets of the Free Society perceive the genre traditions of classicism poetry, already complicated by sentimental and pre-romantic influences.
The experience of classicism is, as it were, passed in their aesthetic consciousness through the prism of the poetic styles created by these trends (Ossianism, German Gothic, the Russian fairy-tale world). One of the most notable poets of the same group - G. P. Kamenev (the author of one of the early Russian ballads "Gromval", 1804) - it was not by chance that Pushkin was called the first Russian romanticist.
He wrote elegy, permeated with a melancholy mood, cemetery verses, willingly translated German pre-romanticists; unfortunately, his early death (1804) did not allow his poetic talent to develop properly.
The radical-minded poets of the Free Society (whose ideological platform is rooted in the Russian enlightenment of the 18th century) consciously focus on other, purely national models, on Radishchev's traditions, although they do not perceive them in full: they remain more or less alien to the revolutionary the pathos of his work, the idea of the inevitability of a peasant revolution and irreconcilable enmity with the autocracy.
By no means justifying the name “poets-radishchevtsy” assigned to them, they advocate the peaceful path of social transformation of Russia and see poetry as one of its most powerful means.
In the activities of the Radishchev poets, with the greatest clarity and completeness, there was a turn towards a new interpretation of civic themes, which became one of the characteristic features of poetry at the beginning of the century.
The Radishchev poets are characterized by a special acuteness and strength of civic feeling, the depth of social emotions. Their lyrics are full of sharp topical allusions, living realities gleaned from contemporary political disputes.
In their poems, they respond to the murder of Paul ("Ode to the Worthy" (1801) by A. Kh. Vostokov with its tyrannical pathos), welcome the accession to the throne of Alexander I, from whom they expect beneficial changes, advocate for the development of enlightenment, the establishment of the beginnings of legality in Russian life , expose the vices of modern society ("Ode to Time" (1804) and "Ode to Happiness" (1805) by A. Kh. Vostokov, "So Radishchev is gone" (1802) and "Message to V. S. S." (1814 ) I. Pnin, "Hope" (1805) and "Happiness" (1801) V. V. Popugaev and others).
In the poetry of the Radishchevites, "a certain ideal of a just social order based on the rule of an inviolable law was affirmed in the spirit of the social concept of enlightenment."
5 In such a position, the moderation of the political program of the Free Society (in contrast to Radishchev's revolutionary spirit) reveals itself, but the objective sound of the works arising on this basis is nevertheless very significant: they express the pathos of a new, active and purposeful personality attitude, independent of the official ideology to reality.
A distinctive feature of the lyrics of the Radishchev poets is the open, emphasized programmatic nature of their poems. In "Ode to Justice" I. Pnin, expressing the aspirations of his contemporaries, glorifies legality, "the source of all great deeds." However, this correct and important idea receives a declarative and straightforward expression, which to a certain extent weakens the power of its aesthetic impact on the reader.
The civic theme is interpreted by the poets of the Free Society in a sublime, heroic way. Pathos is achieved by the emotional richness of the verse, declamatory and oratorical intonation and deliberate archaization of lexical means.
Using the odic tradition, they do not yet create an independent poetic style, although they lay the prerequisites for its formation in the work of the Decembrist poets.
A. Kh. Vostokov (the most prominent poet of the Free Society) stands somewhat apart from the Radishchev poets, whose activities are marked by the stamp of creative searches that are most far removed from the principles of classicism.
The most prominent theorist of Russian verse, Vostokov followed the path of experiments, instilling in Russian poetry new metric forms, both ancient and ascending to Russian folk verse, of which he was one of the first researchers.
6 A number of poems from his collection "Lyrical Experiments" (1805-1806), the poem "Pevislad and Zora" (1804) and especially translations of Serbian folk songs (1825-1827) follow the line of convergence of literature with folklore and, in particular, have undoubted importance for the appearance of "Songs of the Western Slavs" by Pushkin.
In the genres of civil lyricism of the East, he widely uses capacious symbolic images dating back to ancient history and mythology, through which the poet expresses his patriotic enthusiasm and indignation, asserts high social ideals and seeks to inflame the hearts of fellow citizens with love for the Fatherland and virtue (History and Fable, 1804 ).
The activities of the poets of the Free Society of Lovers of Literature, Sciences and Arts undoubtedly contributed to the intensive development of the civic aspirations of the pre-Decembrist lyrics, the convergence of its genre-stylistic and imaginative structure with the socio-political, liberating thought of the time. But it should still be emphasized that the civic consciousness of these poets is ahead of their aesthetic experience.
In their work, they sufficiently use the traditional forms of high odic poetry, although they strive to update them and even more to enrich the poetics of certain genres by expanding the range of historical realities, using modern political phraseology and saturating it with a capacious, associative content that emphasizes the freedom-loving and patriotic pathos of their lyrics.
Without nominating a poet of significant artistic scale from their midst, the participants of the "Free Society" grope for the paths along which the evolution of Russian civic poetry, and especially the poetry of Decembrism, will go in the future.
Along with the poets of the Free Society, he made a significant contribution to the formation of the style of civic poetry in the 1800s and 1810s. and first of all, V.M. Milonov and N.I. Gnedich contributed to the use of ancient and biblical motives for political allegory.
Milonov was an outstanding master of political satire for his time, anticipating, in particular, in his poem "To Rubellius" (1810) stylized as antiquity, the figurative and stylistic structure of the famous satire of Ryleev "To the temporary worker" (1820).
The cult of civic valor and adherence to high genres of political lyrics are also characteristic of the early period of N.I. Gnedich's creative activity. In his translation of the philosophical ode "The Hostel" (1804) by the French poet Tom, who is close to the encyclopedists, Gnedich sharpened its political meaning, giving it a modern sound.
He contrasted the reasonable laws prevailing in nature, indifference and selfishness in the public life of people, emphasized the idea of everyone's responsibility for violating the primordial human rights to freedom. He spoke with words of harsh condemnation to his contemporary:
You are asleep, you are a villain, you have already twisted the whole chain of flowers,
Imposed on citizens, the fatherland torments.
Gnedich's poem "The Peruvian to the Spaniard" (1805), which contains a direct appeal to the struggle against tyranny and was widespread in the Decembrist environment, is also imbued with political allusions. The poet threatens the tyrants with the righteous anger of indignant slaves.
Belinsky noted that, despite the "prosaic nature" of this poem, there are places in it that are remarkable for the "energy of feeling and expression."
History of Russian Literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
Of the “school scenario”, the stories of the cycle are lined up in a sequence with a continuous and unfinished plot of learning at school of being and preparing for new exams (already outside of the actual school and university life), which bring the hero a sense of satisfaction and at the same time stimulate the acquisition of new knowledge and skills. "School script" in "Notes of a young doctor" by MA Bulgakov plays the role of a metaphor of life. The Young Doctor expresses his credo:
Hundreds of times to get lost and regain the presence of mind and re-wing to fight.
These words are reminiscent of the famous statement of Leo Tolstoy: "To live honestly, you have to torn, get confused, fight, make mistakes, start and quit, and start again, and again quit, and fight forever ..."
REFERENCES Isupov KG Cultural concept "teacher / student" against the background of Russian "truth" C Dialogue in education: Sat. materials of the conference. Symposium series. -No. 22 .-- SPb., 2002.
Yablokov E. A. Text and subtext in the stories of M. Bulgakov ("Notes of a young doctor"). - Tver, 2002.
RIDDLES OF TEXT
A. L. GOLOVANEVSKII
Archaisms in Russian poetry of the XIX century: F.I.Tyutchev -A. S. Pushkin
The analysis of archaisms in the poetry of Pushkin and Tyutchev helps in solving serious problems of a textual nature.
Key words: lexical archaisms; semantic doublets; poetic image; parallel morphological forms.
The use of archaisms in Russian poetry is not always conditioned only by stylistic factors and the influence of the traditions of predecessors. The preference given to archaic means is often explained by the peculiarities of the author's worldview, which, as you know, does not always remain constant. So, in the early, youthful periods of creativity Tyutchev and Pushkin, the complex of archaic elements in their poetry is associated with the influence of previous traditions. We mean before
The work was carried out with the financial support of the Russian Humanitarian Science Foundation: project 11-14-3200 (a / c).
Golovanevsky Arkady Leonidovich, Doctor of Philology Sciences, Professor of the Bryansk State. University named after acad. I. G. Petrovsky. Email: [email protected]
total odic traditions of G.R.Derzhavin. The initial period of Tyutchev's work, like Pushkin's, dates back to the time when the Russian literary language, and especially the language of fiction, was in search of new means of expressing thought, in the process of re-evaluating previous literary traditions, selecting and using the most stable of them. Many researchers have written about the coexistence of various stylistic systems in Pushkin's poetry, tracing the evolution of Pushkin's "poetic liberties." GO Vinokur, for example, paid attention to I) the truncation of adjectives and participles; 2) the endings -ыя @ -и) in the genitive singular of adjectives and feminine pronouns;
3) sound [e] instead of [o] after soft consonants in rhyme; 4) full agreement and disagreement [Vinokur 1991: 246]. VV Vinogradov viewed the evolution of Pushkin's style as the liberation of the poet's language from the phonetic-morphological archaisms of church-book speech [Vinogradov 1982: 253].
The so-called "formalists" B. Eikhenbaum, Yu. Tynyanov, V. Bryusov and others wrote about the archaic nature of the language of Tyutchev's poetry from various positions. assessed their role in the poet's language: “The name of Derzhavin in connection with Tyutchev was first clearly pronounced by the formalists ... Still, the 'doctrine' got in the way here, because Tyutchev's attitude to Derzhavin was understood primarily as an attitude in the field of issues of poetic language (Tyutchev - the poet of the "high" language against the background of Pushkin's poetry, etc. ...) ”[Pumpyansky 1928: 37]. Pumpyansky's reproaches against the "formalists" do not seem entirely fair to us. For to deny that Tyutchev's language is more archaic in comparison with Pushkin's is senseless. It is another matter to understand how this is connected with Derzhavin's influence. Most likely, one must be very careful when comparing the use of archaic vocabulary in Tyutchev's late poetry with Derzhavin's traditions. Undoubtedly, here in the first place should be put the ideological positions of the poet, conditioned by the principles of Slavophil theory, primarily by the orientation towards the primordial means of the Russian language. It is interesting to trace how Tyutchev's poetry presents the vocabulary of a foreign language origin, how it relates to the primordial vocabulary, whether the poet had a problem of choice: “one's own - another's”. But one thing is clear: Tyutchev more often than Pushkin preferred the archaic to the modern.
It is known that lexical archaisms are found in the language of fiction more often than other types of archaisms. But in the poetry of Tyutchev and Pushkin, they do not have a leading place. The main signs of archaism in them can be
find in the field of semantics and word formation. I must say that the classification of archaic vocabulary, like any classification, cannot be rigid and unambiguous. Lexical archaisms can be complicated by word-formative archaic components, word-formative ones - by morphological ones, etc. The typology of archaic vocabulary, mainly developed by NM Shanskiy [Shanskiy 1954], can be represented as follows: archaisms proper lexical, phonetic archaisms, semantic archaisms. Actually lexical archaisms are semantic doublets of words with different stylistic coloring. In the poetry of Tyutchev and Pushkin, for example, they are represented by the following words: brush, brush (1-1), sackcloth (1-1), kov (10), krin (1-0), lepta (1 - lept- 1), abode (8-26), thief (1-0), hope (1-0), hope (2-6) and some. dr.
It is scary - food, food, food:
It is not the flatterer's hand that are burnt out, Fragrant anemone and krynas Pour the scent on the brush ... (Tyutchev. The message of Horace to the Maecenas, in which he invites him to a village dinner).
Brashna - food, food:
Three young knights are sitting; Silent behind an empty bucket, Forgotten the circular cups, And the brushna is unpleasant to them. (Pushkin. Ruslan and Lyudmila).
Brashnik - feast master:
Elder Nestor today, the venerable Brashnik, taking the goblet, gets up And a vessel entwined with ivy, He gives Hekuba. (Tyutchev. Wake).
Sackcloth is poor clothes:
Victim of revenge - buy a friend. Purple is sackcloth at a price. (Tyutchev. Song of Joy. From Schiller).
Pushkin does not use this lexeme.
Kov - conspiracy, malicious intent:
The tsar's son dies in Nice - And from him they build a kov ... (Tyutchev. The tsar's son dies in Nice.).
Pushkin does not have this word.
Lepta is a feasible donation:
Here she is - that simple old woman. That she brought, crossing herself and sighing, a bundle of firewood,
as a mite, to the fire. (Tyutchev. Gus at the stake).
Wed from Pushkin (about a negligible amount):
Widow Clicquot or Moeta Blessed wine In a bottle frozen for the poet On the table immediately brought. ... for him The last poor mite used to be, I gave, I ... ("Eugene Onegin").
Why did Pushkin use this word in the masculine gender? According to dictionaries, a mite (it was in this form that the lexeme was used in the Old Russian language) is "a small copper coin", but for Pushkin it is the same as a penny.
In the language of Pushkin, we will not find many archaisms used by Tyutchev, including those that are actually lexical; Wed: larvae (in Roman mythology - souls of prematurely dead or violent deaths, wandering at night in the form of ghosts), fitting - a type of weapon (Tyutchev has a symbol of intimidation), the already mentioned brushnik (Tyutchev has a "feast manager").
Thief is a thief, a robber:
What songs are there in that country ... where this thought, having lost its direct paths, Wanders through the back streets, From the rude hiding watchmen. (Tyutchev. What songs, my dear.).
In Pushkin's language, the word thief is not used, while a thief is used quite often (48 times).
Hope, hope - hope (hope) for the obligatory fulfillment of your aspirations:
O sacrifice of thoughtless thought, you hoped, perhaps, That your blood will become meager, To melt the eternal pole! (Tyutchev. December 14, 1825); I have learned a new sorrow; For the first I have no hopes, And I'm sorry for the old sorrow. (Pushkin. Eugene Onegin).
We consider lexical-derivational and lexical-morphological archaisms as varieties of lexical archaisms proper. Lexico-derivational archaisms are the most significant in terms of quantitative composition a group of archaisms in the language of poetry of Tyutchev and, possibly, Pushkin. Greet-
We will show some examples indicating the word forms used (first by Tyutchev, then by Pushkin):
exalted (1-0), treacherous (1-0), leading (1-0), uplifting (1-1), questioning (1-10), resurrection (1-0), resurrect (1-0), -have (1-0), turning (1-0), friendship (123), rusty (1-8), slander (1-7), play (1-4), foreign (1-9), show ( 1-8), obstat (1-0), scorn (1-0), carrier (1-0), provident (1-0), compete (1-0), competitor (0-1), mysterious (1 -0), deceased (2-6), etc.
Most of these words refer to monosemic vocabulary and are common to Tyutchev and Pushkin. But here we will consider only the vocabulary found in Tyutchev.
Great - gorgeous, shining with beauty:
Let the magnanimous pillars, The masses of the temples glorified Let the greedy gaze of the meaningless crowd seduce. ("The message of Horace to the Maecenas ...").
A treacherous man - endowed with the properties of a treacherous (the adjective treacherous is absent from Tyutchev):
The ruling Kronid revenge terribly against the Treacherous - Both to his family and to his home. ("Wake").
The head is the front of the grave, where the head of the coffin is located:
And over the grave, open, At the head where the coffin stands, The learned pastor of the dignitaries The funeral speech reads. ("And the coffin is already lowered into the grave.").
To be resurrected - to ascend:
And the Spirit in me, revived, rose again And to the sun, like an eagle, soared ... ("Shipwreck. From Heine").
To turn back - to rotate, to move non-stop. Revolving - non-stop revolving:
And quickly, with a miraculous speed, The globe of the earth will revolve around. ("From Goethe's" Faust "); And in the course of the returning times, Like a drop into the ocean, He plunged into eternity! ("For the new year 1816").
PLUZHNIKOVA DIANA MIKHAILOVNA - 2013
1. Poetry as a source of enrichment of the educational potential of language education
1.1. Poetry and the cognitive aspect of language education
1. 2. The developing potential of poetry
1.2.1. Development of cognitive abilities
1.2.2. Development of abilities for emotional-evaluative activity
1.2.3. Development of the abilities necessary for the functioning of the activity-transforming sphere (the ability to carry out productive speech actions)
1.3. Poetry and the educational potential of language education
1.3.1. Culture as the content of education
1.3.2. Personal value orientations in the context of language education
1.3.3. Poetry as a means of educating an aesthetic feeling
2. The technique of using poetry in the process of language education
2.1. The use of poetry in the method of teaching languages (on the example of theory and practice)
2.2. Selection of poetry and their place in the educational process
2.3. Method of working with poetic works
2.4. Description and results of experimental learning CONCLUSION
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Dissertation introduction (part of the abstract) on the topic "The use of poetry in the process of language education"
Poetry and poetry as a universal creativity, a source and at the same time a synthesis of all kinds of art that have arisen after poetry invariably attracts the attention of philosophers, teachers, psychologists, linguists, art critics. So I. Kant, F. V. I. Schelling, F. Schlegel assigned the leading role in the process of cognition of being to the aesthetic aspect, the expression of which is poetry. Poetry is considered as the ontology of culture by J. Derrida, M. Foucault, U. Eco. Poetry as creativity was considered in the works of T. Adorno, P. G. Berger, P. Valeri, O.B.Dubova, H. Ortega-y-Gasset, M. Heidegger, etc. In the studies of J.E. Golosovker, R. Graves, A. F. Losev, D. D. Fraser, M. Elnade poetry is considered as the original picture of the world in mythological texts. The emergence of the poetic in the human mentality was investigated by Z. Freud, K.P. Estes, C.G. Jung. The features of the generation and perception of poetic speech are studied, in particular, within the framework of modern psychopoetics (A.Aleontiev, V.A.Pshtsalyshkova, Yu.A. Sorokin, etc.). Actually, the problem of poetic language, the poetic word was considered in studies by M.M. Bakhtin, A. Bely, R.-A. Bogrand, D. S. Likhachev, J. M. Lotman, O. Mandelstam, J. Mukarzhovsky, Yu. Tynyanov, R. Fowler, E. G. Etkind, RLkobson, etc.
It would be wrong to say that poetry has remained outside the scope of methodology to this day. On the contrary, many researchers, authors of educational * methodological complexes, both in our country and abroad, to one degree or another use the potential of poetry for teaching a foreign language. So, for example, an artistic, and in particular a poetic text in linguodi-dactic comprehension is presented in the works1 of N.V. Kulibina, N.A. Pagis suggests using poetry to form the reader's outlook for high school students, a method of teaching analysis and understanding of poetic texts in a foreign language has been developed. (see, for example, Nguyen Tun Anh 2001), the educational aspect of the use of poetic text is considered
Yu.I. Orokhovatsky, B. 51. Lebedinskaya and others. As you can see from the above list, poetry really enjoys the attention of researchers. However, one cannot fail to notice that with all the results and interesting proposals, the potential of poetry is far from being exhausted.
The task of cognizing the culture, mentality of other people (peoples), the task of preparing for the Dialogue of Cultures on the basis of mutual understanding and mutual respect comes to the fore in modern education. The choice of mutual understanding and mutual respect as the basis for dialogue becomes especially important in the modern world, which is shaken by contradictions and conflicts, and where the consequences of both disunity and misunderstood unity can become fatal.
Russia today seeks to strengthen its influence on the world arena, actively develops relations with the world community, not least with the CIS countries and other neighboring states. The country's economy is becoming more and more attractive for foreign investment; serious positive changes have taken place in migration policy. In many intensively developing regions of Russia, the authorities are taking measures to attract qualified, economically active citizens of other countries on the basis of legal migration. At the same time, there are a number of problems of social adaptation of migrant families in Russia. In this regard, since the end of the 90s, a new field has been developing in domestic pedagogy - migration pedagogy. It was first formulated in the scientific school of E.V. Bondarevskaya (I.V. Babenko, O.V. Gukalenko, L.M. Sukhorukova, etc.). To date, UG Soldatova, OE Khukhlaev, L.A. Shaigerova, O.D. Sharova and others; research on the orientation of migrant children towards higher education is presented in the works of E.V. Tyuryukanova and L.I. Ledeneva. A number of scientists (L.R.Davidovich, N.V. Postnova, O.E. Sergeeva, Zotova E.M., Miklyaeva N.V. and others) noted that the issues of language adaptation are pivotal for solving many problems of socialization families of migrants.
One of the main problems is insufficient knowledge of the Russian language, primarily literary, as well as insufficient understanding of the cultural characteristics of Russia. On the one hand, insufficient command of the Russian language entails difficulties in obtaining secondary and vocational education by migrant children, on the other hand, there is a certain methodological unpreparedness of Russian language teachers to work in such an audience, where the tasks of students mastering the Russian-language culture in the process of learning Russian are especially important. language, fostering respect for Russian culture and preparing for a dialogue of cultures. This direction differs from the methodology of teaching Russian as a native language, from teaching Russian as a state language in national schools, and can become one of the promising directions for the development of RFL methods.
We will not argue that it is poetry that can be the only effective means of educating a personality ready for a dialogue of cultures. However, in conditions when mastery of everyday language, due to urgent need, is quite successful, it is poetry as the quintessence of culture that can help to take the next step: to understand Russian culture and, through this, come closer to understanding the mentality of the Russian people. At the present time, when, as is known, there is a Concept of communicative foreign language education, which speaks about the cognition of language through culture and about the cognition of culture through language, and in which the tasks of preparing for a dialogue of cultures are set, there is every reason to believe that these possibilities of poetry can be demanded and used for the good. This requires, however, a slightly different approach to poetry as such. A look at the poetry, the ethical text as a fact of culture, can open up the enormous educational potential of poetry in the cognitive, educational, developmental and educational aspects.
In this regard, there is an opportunity to improve the technology of working with poetic works and thereby make a certain contribution to what is especially relevant today: in the development of the ability for a dialogue of cultures, in fostering not only tolerance to a foreign culture, but also to the rapprochement of peoples. , to the introduction of immigrants into the Russian cultural context.
In this we see the relevance of the work. Based on it, our theme was determined: "The use of poetry in the process of language education."
The object is the process of language education at the senior level of education.
The subject is a set of special tasks related to a poetic work as a fact of culture, and the technology of working with it.
The purpose of this work is to create a special set of tasks, substantively and organizationally based on the technological square model and ensuring the disclosure of the potential of a poetic work in the process of language education.
This goal requires the solution of the following tasks: to consider the cognitive potential of poetry; to determine the developmental possibilities of using poetry; analyze the educational potential of poetry; to consider the existing theoretical and practical approaches to the use of poetry in the methods of teaching languages, in particular, in the audience of immigrants; to propose principles and criteria for the selection of poetry; offer a set of special tasks for working with poetic works; describe the technology of using a set of tasks based on the technological square model; check the effectiveness of the developed methodology in the course of experimental training.
We put forward the following hypothesis:
The purposeful use of poetry can significantly increase the level of language education if:
1) consider the poetic "text as a fact of culture and reveal its educational (cognitive, developmental and educational) potential;
2) select poetic works based on the principle of educational value and criteria of cognitive, developmental and educational potential;
If these conditions are met, the emergence and growth of skills necessary for the proper perception, understanding and interpretation of Russian culture in its dialogue with the native culture of students will be observed.
The scientific novelty of the research lies in the fact that for the first time poetic texts are considered as facts of culture, which makes it possible to maximize their educational opportunities and improve the level of language education, including among the audience of immigrants; for the first time, the so-called technological square is also used as a model that potentially allows constructing a lesson in a meaningful and organizational way.
The theoretical significance of the study lies in the fact that it is substantiated - a model of interpretation of a poetic work, the implementation of which enriches the content of language education, makes it possible to build an occupation that is integrative in content and multivariate in structure.
The practical significance lies in the fact that the proposed set of tasks and the technology of working with it can serve as a model for the construction and conduct of many types of lessons related to working on poetic works on the material of any language.
Theoretical and methodological base of the research: activity approach; the concept of philosophy of culture by M.S. Kagan; theory of dialogicity of the text M.M. Bakhtin; the concept of assimilation of background knowledge by E.M., Vereshchagin, V.G. Kostomarova; the concept of perception of literary text by N.V. Kulibina; the concept of the psychology of arts by L.S. Vygotsky; the concept of communicative foreign language education by E.I. Passova et al.
In addition, the following research methods were used: an analysis of scientific literature related to the problem under study (but methodology, pedagogy, psychology, philosophy, semiotics, linguistics) was carried out, as well as an analysis of existing textbooks and teaching aids on Russian and English languages of domestic and foreign publications ; conversations with teachers (teachers) and students; observation of the learning process, testing, experimental learning.
The following provisions are made on zanigga: 1. A poetic text, which has always been used in language teaching, deserves more attention and place in language education, since it has a rich cultural and, therefore, educational potential. The use of poetic texts in the cognitive aspect makes it possible to involuntarily master the cultural content, including the necessary background knowledge; in the developmental aspect, it leads to the development of a number of abilities necessary for the functioning of various mental spheres; in the educational aspect, it helps to form the value consciousness, attitude, behavior of the individual. The disclosure and use of this potential is facilitated by the consideration of an artistic poetic text as a fact of culture and as a "subject" in its dialogue with the student.
2. To reveal the potential of poetic texts, their adequate selection is necessary. The required selection must be made on the basis of certain criteria. The leading criterion should be considered the criterion of the educational value of a literary text. Educational value is understood as the presence in a given text of sufficient potential to realize the goals of the cognitive, developmental and educational aspects. As additional criteria, the criterion of the possibility of mastering the selected material for a given period of study and the criterion of the integration of poetic material into the general fabric of the educational process are used.
3. The decisive factor that allows students to assimilate the entire educational potential of poetic texts is the proposed method of working with poetic works. There are two main conditions in this technique. The first is associated with the need for a nomenclature of tasks that guide students in the direction of the cognitive, developmental and educational aspects; the second condition is an effective technology for working with text, the basis of which is a technological square as a model for organizing a lesson. The use of this model ensures the consistent and specially organized execution of tasks in all the indicated aspects. This work is based on the principle of novelty, which ensures the multivariance of students' activities and leads to a higher productivity of the educational process.
Experimental research base: NOU NT "Center for Humanitarian Education", Surgut.
The main stages of the study, which was carried out for 2.5 years. At the first stage (2004-2005) linguistic, literary, cultural, philosophical, psychological, pedagogical and methodological literature covering the research problem was analyzed. This stage was devoted mainly to theoretical comprehension of the studied literature and the development of a general strategy for research activities.
The second stage (2005-2006) was devoted to experimental verification of the effectiveness of the proposed set of tasks. At this stage, the preparation of materials for experimental and experimental training was carried out, its implementation and analysis of the results obtained. This stage played an important role in clarifying the research hypothesis, and made it possible to find a methodological solution to the problems.
The third stage of the study (2007) is generalizing. At this stage, the results of experimental training were generalized and analyzed, conclusions were drawn, the set and design of dissertation materials were carried out, and the data were processed.
The reliability of scientific results is ensured by the unity of philosophical, psychological and methodological approaches to solving the problem posed, a variety of information sources, a qualitative analysis of the data obtained, repeated discussion of the results at methodological seminars, scientific and practical conferences, a number of publications on the topic of research.
The approbation and implementation of the research results was carried out in a non-state educational institution of a new type "Center for Humanitarian Education", Surgut. The main provisions and results of the research carried out were reported at methodological seminars, department meetings, scientific international conferences, discussed at the XI Congress of MAPRYL (Varna, 2007) and also reflected in 9 published publications.
Similar dissertations in the specialty "Theory and methods of teaching and upbringing (by areas and levels of education)", 13.00.02 code VAK
Cultural Aspect of Teaching the Russian Language in Grades 5-9 as a Means of Students' Comprehension of National Culture 2005, Doctor of Pedagogical Sciences Novikova, Larisa Ivanovna
Methodology for working on poetic texts in high school lyceums and gymnasiums: German 2003, Candidate of Pedagogical Sciences Zhdanova, Lyutiya Rafailovna
Cultural approach to teaching Russian: a model of the regional component 2007, Doctor of Pedagogical Sciences Novikova, Tatyana Fedorovna
Linguistic and regional analysis of poetic works of S.A. Yesenin in the audience of foreign philologists: III-IV levels of general proficiency in RFL 2008, candidate of pedagogical sciences Kuznetsova, Anna Yurievna
Didactic game using painting as a means of teaching speech communication in Russian lessons 2004, candidate of pedagogical sciences Kabanova, Ekaterina Vladimirovna
Conclusion of the thesis on the topic "Theory and methods of teaching and upbringing (by areas and levels of education)", Kotsareva, Karina Faridovna
Thus, on the basis of the data on the five selected criteria, the level of development of a personal emotional-value attitude to the fact of a foreign culture was determined.
The conducted experimental study fully confirmed the hypothesis put forward. It was found that the level of mastering a foreign language culture significantly increases with the purposeful use of Russian poetry as a fact of culture in the proposed technology.
The use of poetic texts in the cognitive aspect allows students to involuntarily master the cultural content of a foreign language culture, including the necessary background knowledge, expands the horizons of students; in the developmental aspect, it leads to the development of a number of abilities necessary for the functioning of various mental spheres, in particular memory, imagination, the ability to carry out productive speech actions; in the educational aspect, it helps to form the value consciousness, attitude, behavior of the individual.
Thus, the proposed technology, allowing to realize the possibilities of poetry to enrich the process of language education in the cognitive, developmental and educational aspects. The technology contributes to an increase in the level of personal emotional-value attitude to the facts of Russian culture, which means that it can serve to solve the problems of fostering respect for Russian culture and preparing for a dialogue of cultures. The latter is especially relevant when teaching the Russian language to migrants as a part of their social adaptation.
Conclusion
As is clear from the Introduction, the purpose of this work was to create a special set of tasks, substantively and organizationally based on the Technological square model, as well as to create a technology for working with this complex.
In this regard, the tasks were set to consider the cognitive potential of poetry, to determine the developmental possibilities of using poetry, to analyze the educational potential of poetry, to consider the existing theoretical and practical approaches to the use of poetry in the method of teaching languages, to propose principles and criteria for the selection of poetry and a set of special tasks for work. with them, as well as describe the technology of using a set of tasks based on the Technological square model and check the effectiveness of the developed methodology in the course of experimental training.
The study was based on the hypothesis that the purposeful use of poetry as a fact of culture can significantly increase the level of language education if:
1) consider poetic works as facts of culture and reveal their educational (cognitive, developmental and educational) potential;
2) select poetic works based on the principle of educational value and criteria of cognitive, developmental and educational potential;
3) use the proposed set of special tasks, substantively and organizationally based on the technological square model.
As a result of the study, the following results were obtained.
Analysis of the potential of poetry in the context of the cognitive aspect of language education showed that the traditional use of poetry for solving educational problems can be expanded, and poetry can be used in the cognitive aspect, which is aimed at mastering the cultural content of education, expanding the horizons of students, helping them to master the necessary background knowledge and comprehend life meanings reflected in the subjects of art. To solve this problem, it is important to create a communication situation where the poetic text is one of its "subjects". The perception and understanding of the images and meanings of the text, as well as the assimilation of background knowledge, occurs as a result of dialogical reading - a complex cognitive thought-changer.
When considering the developing potential of poetry, we came to the conclusion that a number of abilities can be distinguished, for the development of which the use of the developing potential of poetry can be very fruitful. Among these abilities, the abilities for cognitive activity of perceptive and modeling levels, the ability for emotional-evaluative activity, as well as the abilities necessary for the functioning of the activist-transforming sphere or the ability to carry out productive speech actions were identified.
An analysis of the possibilities of using poetry in the educational aspect of language education showed that if education in the modern sense is the process of forming the image of being and the image of a person on the basis of value consciousness, attitudes, personality behavior, the process of shgeriorization of moral knowledge, then poetry is a kind of exposition ideals and values of a person. That is why turning to the best examples of poetry can expand the inner world of the reader. At the same time, activities aimed at understanding poetry should be of an aesthetic nature, the character of co-creation between the reader and the poet.
A review of the literature at our disposal, including a sample of textbooks, showed that at different times, many domestic and foreign methodologists turned to poetry as an effective exercise, a means of expanding vocabulary, as a non-trivial material illustrating linguistic phenomena. In other words, poetry is actively used to solve problems related to the educational aspect of foreign language education in our terminology. It is the fact that, until now, not always and not fully in poetry they see all of its educational potential, and determines, in our opinion, the undeservedly insignificant place of poetry in the content of language textbooks.
Following the logic of our reasoning in the work, it was proposed to carry out an adequate selection of poetic works for the realization of our goals, based primarily on the principle of the educational value of a poetic work. In addition, we consider important the criterion for taking into account the presence of the cognitive, developmental and educational potential of the work, as well as the criterion for the possibility of mastering the selected material for a given period of study and the criterion for the integration of poetic material into the general fabric of the educational process.
Based on the analysis of the cognitive, developmental and educational potential of poetry, a set of special tasks for working with poetry was proposed. This complex, subject to selection taking into account the proposed criteria and the organization of tasks according to the Technological square model, allows you to create an educational space in which the appropriation of cultural elements in all aspects (cognitive, developmental, educational) would take place and at the same time, educational tasks were solved.
This methodology was tested during the pilot training conducted on the basis of the NOU NT "Center for Humanitarian Education" in Surgut in 2005-2007.
Five leading criteria for assessing the development of skills necessary for proper perception, understanding and interpretation of a foreign culture in its dialogue with the native culture were identified: the criterion of mastering the facts of culture; criterion for the level of development of the ability to transfer in the use of grammatical forms; a criterion for the quantity and quality of associative links for a certain time; the criterion of the ability to carry out productive actions (comparing the facts of a foreign culture with one's own culture - the ability to see what unites us); criterion for the manifestation of aesthetic feeling.
Based on the data on the five selected criteria, it turned out to be possible to determine the level of development of a personal emotional-value attitude to the fact of culture.
The conducted experimental study fully confirmed the hypothesis put forward. It was found that the level of language education significantly increases with the purposeful use of poetry as a fact of culture in the proposed technology.
The use of poetic texts in the cognitive aspect enables students to involuntarily master the cultural content, including the necessary background knowledge, expands the horizons of students; in the developmental aspect, it leads to the development of a number of abilities necessary for the functioning of various mental spheres, in particular memory, imagination, the ability to carry out productive speech actions; in the educational aspect, it helps to form the value consciousness, attitude, behavior of the individual. The proposed technology, allowing to realize the possibilities of poetry to enrich the process of language education in cognitive, developmental and educational aspects, contributes to an increase in the level of personal emotional-value attitude to the facts of Russian culture, which means that it can serve to solve the problems of fostering respect for Russian culture and preparing for a dialogue of cultures ... The latter is especially relevant when teaching the Russian language to migrants as part of their social adaptation.
The approbation and implementation of the research results was carried out in a non-state educational institution of a new type "Center for Humanitarian Education", Surgut. The main provisions and results of the study were reported at methodological seminars, department meetings, scientific interuniversity, international conferences, and are also reflected in 9 published publications.
This topic can hardly be closed, since a number of unresolved issues remain, in particular, about the presence of constant and variable components of the complex, which can serve as a subject for further research.
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The article presents a small selection of poems on the theme of poetry and the fate of the poet, and their brief analysis. This collection will help graduates who pass the exam in literature when writing a detailed answer in task 16, where it is necessary to compare the given excerpt from the lyric text with other poems with similar topics and quote them.
Blasphemy pursues him:
He catches the sounds of approval
Not in a sweet murmur of praise,
And in the wild screams of anger ...
Nekrasov's poem is built on an antithesis. The first part is devoted to poets who do not touch on topical, topical topics, do not use satire in their work and, thus, find a large number of admirers of their work: "And his contemporaries are preparing a monument to him during his lifetime ...". The second part of the poem reflects the creative life of the rebel poet, one who writes sharply, sincerely, does not try to please. He remains honest with his readers and, above all, with himself, and in his works he shows the truth of life without embellishment. Despite the fact that such a poet does not find recognition during his lifetime ("And every sound of his speeches breeds harsh enemies for him"), Nekrasov notes that after his death, great works will be understood and appreciated even by those who previously criticized them. Thus, the author of the poem reflects the following point of view: a genius poet is a person who is not afraid to express his civic position in poems, is not afraid to be misunderstood and does not strive for fame, and who sees the meaning of his life in the ability to speak through his work.
Mayakovsky "An extraordinary adventure ..."
I will pour my sun
and you are yours
poems.
The author depicts the dialogue between the poet and the sun, thereby, as it were, likening the person who creates the poem to the luminary that sheds light on the earth. The poet, just like a star, dispels darkness, but only does it in the soul of each individual reader. Mayakovsky's message is important: it is necessary to work hard and hard, and then ghosts can become for people the very sunlight that warms and illuminates the path of life:
Always shine, shine everywhere
until the last days of the bottom,
shine - and no nails!
This is my slogan and the sun!
Tvardovsky "The whole point is in one single covenant ..."
I am concerned about one thing during my life:
That I know better than anyone else in the world
I want to say. And the way I want.
In most of his poems, Tvardovsky urges people to always be honest, to say only what they think. He portrayed contemporary life and a Russian person with an open soul. The lyrical work "The whole point is in one single testament ..." was no exception, but here Tvardovsky draws attention to the special purpose of the poet. The only purpose of creativity for him is the expression of thoughts and feelings through his lines. The creator must speak openly and directly, without lies and falsehood - this is the only possible condition for the existence of art. The work is constructed as a monologue-declaration, that is, as a proclamation of one's truth, which for a lyrical hero is an indisputable truth.
Pushkin "Poet"
But only a divine verb
He touches the hearing sensitive,
The poet's soul will stir
Like an awakened eagle.
In Pushkin's view, the poet is a sublime, heavenly creature - this is how Alexander Sergeevich describes him in his works. Therefore, at the beginning of the poem, the life of the creator is reflected in the everyday world, in which there is no place for lofty ideas and dreams. He suffocates and feels worthless, being a part of this routine and prosaic life: "And among the children of the insignificant of the world, perhaps he is the most insignificant of all." The second half of the poem is devoted to the very moment of creativity, when a muse comes to the poet and he becomes not involved in the world of ordinary people. The author emphasizes that a creative person cannot live without inspiration, only in his presence he becomes truly free and happy, the usual earthly life is alien to him. And it is at the moment of creating his works that he can be alone with his art.
Balmont "Higher, Higher"
Higher, higher, everything is behind me,
Enjoy the height
Fall into my net
I sing, I sing, I sing.In the poem "Higher, Higher" Balmont described the creative process. He portrays the poet as a creator, a creator who touches the soul of everyone who reads his poem: "I touched the souls of others, like strings, but my strings." Another image that Balmont's metaphor propels us to is the lyricist as a musician who, with the help of words, creates a piece that plays on the strings of the human soul. The poem can also be viewed as the process of reading this work: "With the trembling of the sonorous wings, he bewildered, intoxicated." Indeed, with each line you read, you immerse yourself more and more in the artistic world of Balmont and unconsciously become a part of it yourself.
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